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+The Project Gutenberg EBook of Redemption and Two Other Plays, by Leo Tolstoy
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Redemption and Two Other Plays
+
+Author: Leo Tolstoy
+
+Posting Date: December 8, 2011 [EBook #9792]
+Release Date: January, 2006
+First Posted: October 17, 2003
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK REDEMPTION AND TWO OTHER PLAYS ***
+
+
+
+
+Produced by David Starner, Skip Doughty, and Project
+Gutenberg Distributed Proofreaders
+
+
+
+
+
+
+
+
+
+
+
+REDEMPTION AND TWO OTHER PLAYS
+
+By LEO TOLSTOY
+
+Introduction By ARTHUR HOPKINS
+
+
+
+
+
+
+
+CONTENTS
+
+INTRODUCTION BY ARTHUR HOPKINS
+REDEMPTION
+THE POWER OF DARKNESS
+FRUITS OF CULTURE
+
+
+
+
+INTRODUCTION
+
+After making a production of _Redemption_, the chief feeling of the
+producer is one of deep regret that Tolstoi did not make more use of
+the theatre as a medium. His was the rare gift of vitalization: the
+ability to breathe life into word-people which survives in them so
+long as there is any one left to turn up the pages they have made
+their abode.
+
+In the world of writing, many terms that should be illuminative have
+become meaningless. So often has the barren been called "pregnant,"
+the chill of death "the breath of life," the atrophied "pulsating,"
+that when we really come upon a work with beating heart we find it
+difficult to give it place that has not already been stuffed to
+suffocation with misplaced dummies.
+
+We seat it at table with staring wax figures and bid it to join the
+feast. There is no exclusion act in art, no passport bureau, not even
+hygienic segregation.
+
+In writing the briefest introduction to Tolstoi's work, I am appointed
+by the publisher, a sort of reception committee of one to escort the
+work to some fitting place where it may enjoy the surroundings and
+deference it deserves.
+
+The place to which I escort it is built of words, but what words have
+been left me by the long procession of previous committees? Where they
+have been truthfully used they have been glorified, and offer all the
+rarer material for my structure, but how often have they been
+subjected to base use. Perhaps some day we will learn the proper
+respect of such simple words as love and truth and life, and then when
+we meet them in books we shall know how to greet them.
+
+The study of _Redemption_ is so simple that it needs no illumination
+from me. The characters may walk in strange lands without
+introduction. They are part of us. Fedya is in all of us. His one cry
+"There has always been so much lacking between what I felt and what I
+could do" instantly makes him brother to all mankind. His simultaneous
+physical degeneration and spiritual regeneration is the glory that all
+people have invested in death. Tolstoi's cry against convention that
+disregards spiritual struggle, and system that ignores human growth,
+will find answering cries in many breasts in many lands.
+
+Utterly disregarding effect, technique or method, Tolstoi has explored
+his own soul and there touched hands with countless other souls, and
+since he has trod the path of countless millions who will come after
+him, the mementos of his journey will long be sought.
+
+ARTHUR HOPKINS.
+
+
+The translation of _Redemption_ here published is the one produced by
+Mr. Arthur Hopkins at the Plymouth Theatre, New York, in the season of
+1918-1919. The part of FEDYA was played by Mr. John Barrymore.
+
+
+
+
+
+
+REDEMPTION
+
+
+
+
+CHARACTERS
+
+THEODORE VASILYEVICH PROTOSOV (FEDYA).
+ELISABETH ANDREYEVNA PROTOSOVA (LISA). His wife.
+MISHA. Their son.
+ANNA PAVLOVNA. Lisa's mother.
+SASHA. Lisa's younger, unmarried sister.
+VICTOR MICHAELOVITCH KARENIN.
+SOPHIA DMITRIEVNA KARENINA.
+PRINCE SERGIUS DMITRIEVICH ABRESKOV.
+MASHA. A gypsy girl.
+IVAN MAKAROVICH. An old gypsy man. Masha's parent.
+NASTASIA IVANOVNA. An old gypsy woman. Masha's parent.
+OFFICER.
+MUSICIAN.
+FIRST GYPSY MAN.
+SECOND GYPSY MAN.
+GYPSY WOMAN.
+GYPSY CHOIR.
+DOCTOR.
+MICHAEL ALEXANDROVICH AFREMOV.
+STAKHOV. One of Fedya's boon companions.
+BUTKEVICH. One of Fedya's boon companions.
+KOROTKOV. One of Fedya's boon companions.
+IVAN PETROVICH ALEXANDROV.
+VOZNESENSKY. Karenin's secretary.
+PETUSHKOV. An artist.
+ARTIMIEV.
+WAITER IN THE PRIVATE ROOM AT THE RESTAURANT.
+WAITER IN A LOW-CLASS RESTAURANT.
+MANAGER OF THE SAME.
+POLICEMAN.
+INVESTIGATING MAGISTRATE.
+MELNIKOV.
+CLERK.
+USHER.
+YOUNG LAWYER.
+PETRUSHIN. A lawyer.
+LADY.
+ANOTHER OFFICER.
+ATTENDANT AT LAW COURTS.
+PROTOSOVS' NURSE.
+PROTOSOVS' MAID.
+AFREMOV'S FOOTMAN.
+KARENINS' FOOTMAN.
+
+
+
+
+ACT I
+
+SCENE I
+
+Protosovs' flat in Moscow. The scene represents a small dining room.
+ANNA PAVLOVNA, a stout, gray-haired lady, tightly laced, is sitting
+alone at the tea-table on which is a samovar.
+
+Enter NURSE carrying a tea-pot.
+
+NURSE (enters R. I, over to table C.). Please, Madam, may I have some
+water?
+
+ANNA PAVLOVNA (sitting R. of table C.). Certainly. How is the baby
+now?
+
+NURSE. Oh, restless, fretting all the time. There's nothing worse than
+for a lady to nurse her child. She has her worries and the baby
+suffers for them. What sort of milk could she have, not peeping all
+night, and crying and crying?
+
+     [SASHA enters R. I, strolls to L. of table C.
+
+ANNA PAVLOVNA. But I thought she was more calm now?
+
+NURSE. Fine calm! It makes me sick to look at her. She's just been
+writing something and crying all the time.
+
+SASHA (to nurse). Lisa's looking for you.
+
+     [Sits in chair L. of table C.
+
+NURSE. I'm going.
+
+     [Exits R. I.
+
+ANNA PAVLOVNA. Nurse says she's always crying. Why can't she try and
+calm herself a little?
+
+SASHA. Well, really, Mother, you're amazing. How can you expect her to
+behave as if nothing had happened when she's just left her husband and
+taken her baby with her?
+
+ANNA PAVLOVNA. Well, I don't exactly, but that's all over. If I
+approve of my daughter's having left her husband, if I'm ever glad,
+well, you may be quite sure he deserved it. She has no reason to be
+miserable--on the contrary, she ought to be delighted at being freed
+from such a wretch.
+
+SASHA. Mother! Why do you go on like this? It's not the truth and you
+know it. He's not a wretch, he's wonderful. Yes, in spite of all his
+weakness.
+
+ANNA PAVLOVNA. I suppose you'd like her to wait till he'd spent every
+kopec they had, and smile sweetly when be brought his gypsy mistresses
+home with him.
+
+SASHA. He hasn't any mistresses.
+
+ANNA PAVLOVNA. There you go again. Why, the man's simply bewitched
+you, but I can see through him, and he knows it. If I'd been Lisa, I'd
+left him a year ago.
+
+SASHA. Oh, how easily you speak of these serious things.
+
+ANNA PAVLOVNA. Not easily, not easily at all. Do you suppose it's
+agreeable for me to have my daughter admit her marriage a failure? But
+anything's better than for her to throw away her life in a lie. Thank
+God, she's made up her mind to finish with him for good.
+
+SASHA. Maybe it won't be for good.
+
+ANNA PAVLOVNA. It would be if only he'd give her a divorce.
+
+SASHA. To what end?
+
+ANNA PAVLOVNA. Because she's young and has the right to look for
+happiness.
+
+SASHA. It's awful to listen to you. How could she love some one else?
+
+ANNA PAVLOVNA. Why not? There are thousands better than your Fedya,
+and they'd be only too happy to marry Lisa.
+
+SASHA. Oh, it's not nice of you. I feel, I can tell, you're thinking
+about Victor Karenin.
+
+ANNA PAVLOVNA. Why not? He loved her for ten years, and she him, I
+believe.
+
+SASHA. Yes, but she doesn't love him as a husband. They grew up
+together; they've just been friends.
+
+ANNA PAVLOVNA. Ah, those friendships! How should you know what keeps
+them warm! If only they were both free!
+
+     [Enter a MAID L. U.
+
+Well?
+
+MAID. The porter's just come back with an answer to the note.
+
+ANNA PAVLOVNA. What note?
+
+MAID. The note Elizaveta Protosova sent to Victor Karenin.
+
+ANNA PAVLOVNA. Well? What answer?
+
+MAID. Victor Karenin told the porter he'd be here directly.
+
+ANNA PAVLOVNA. Very well.
+
+     [MAID exits L. U.
+
+     [To SASHA.
+
+Why do you suppose she sent for him? Do you know?
+
+SASHA. Maybe I do and maybe I don't.
+
+ANNA PAVLOVNA. You're always so full of secrets.
+
+SASHA. Ask Lisa, she'll tell you.
+
+ANNA PAVLOVNA. Just as I thought! She sent for him at once.
+
+SASHA. Yes, but maybe not for the reason you think.
+
+ANNA PAVLOVNA. Then what for?
+
+SASHA. Why, Mother, Lisa cares just about as much for Victor Karenin
+as she does for her old nurse.
+
+ANNA PAVLOVNA. You'll see. She wants consolation, a special sort of
+consolation.
+
+SASHA. Really, it shows you don't know Lisa at all to talk like this.
+
+ANNA PAVLOVNA. You'll see. Sasha. Yes, I shall see.
+
+ANNA PAVLOVNA (alone to herself). And I am very glad. I'm very, very
+glad.
+
+     [Enter MAID.
+
+MAID. Victor Karenin.
+
+ANNA PAVLOVNA. Show him here and tell your mistress.
+
+     [MAID shows in KARENIN and exits door R. I.
+
+KARENIN (goes C. and stands behind table C.). (Shaking hands with Anna
+Pavlovna.) Elizaveta Andreyevna sent me a note to come at once. I
+should have been here to-night anyway. How is she? Well, I hope.
+
+ANNA PAVLOVNA. Not very. The baby has been upset again. However,
+she'll be here in a minute. Will you have some tea?
+
+KARENIN. No, thank you.
+
+     [Sits chair R.
+
+ANNA PAVLOVNA. Tell me, do you know that he and she--.
+
+KARENIN. Yes, I was here two days ago when she got this letter. Is she
+positive now about their separating?
+
+ANNA PAVLOVNA. Oh, absolutely. It would be impossible to begin it all
+over again.
+
+KARENIN. Yes. To cut into living things and then draw back the knife
+is terrible. But are you sure she knows her mind?
+
+ANNA PAVLOVNA. I should think so. To come to this decision has caused
+her much pain. But now it's final, and he understands perfectly that
+his behavior has made it impossible for him to come back on any terms.
+
+KARENIN. Why?
+
+ANNA PAVLOVNA. After breaking every oath he swore to decency, how
+could he come back? And so why shouldn't he give her her freedom?
+
+KARENIN. What freedom is there for a woman still married?
+
+ANNA PAVLOVNA. Divorce. He promised her a divorce and we shall insist
+upon it.
+
+KARENIN. But your daughter was so in love with him?
+
+ANNA PAVLOVNA. Her love has been tried out of existence. Remember she
+had everything to contend with: drunkenness, gambling, infidelity--
+what was there to go on loving in such a person?
+
+KARENIN. Love can do anything.
+
+ANNA PAVLOVNA. How can one love a rag torn by every wind? Their
+affairs were in dreadful shape; their estate mortgaged; no money
+anywhere. Finally his uncle sends them two thousand rubles to pay the
+interest on the estate. He takes it, disappears, leaves Lisa home and
+the baby sick--when suddenly she gets a note asking her to send him
+his linen.
+
+KARENIN. I know.
+
+     [Enter LISA R.I. KARENIN crosses to LISA.
+
+I'm sorry to have been a little detained.
+
+     [Shakes hands with LISA.
+
+LISA. Oh, thank you so much for coming. I have a great favor to ask of
+you. Something I couldn't ask of anybody else.
+
+KARENIN. I'll do everything I can.
+
+     [LISA moves away a few steps down R.
+
+LISA. You know all about this.
+
+     [Sits chair R.
+
+KARENIN. Yes, I know.
+
+ANNA PAVLOVNA. Well, I think I'll leave you two young people to
+yourselves. (To SASHA.) Come along, dear, you and I will be just in
+the way.
+
+     [Exit L. U. ANNA PAVLOVNA and SASHA.
+
+LISA. Fedya wrote to me saying it was all over between us. (She begins
+to cry.) That hurt me so, bewildered me so, that--well, I agreed to
+separate. I wrote to him saying I was willing to give him up if he
+wanted me to.
+
+KARENIN. And now you're sorry?
+
+LISA (nodding). I feel I oughtn't to have said yes. I can't. Anything
+is better than not to see him again. Victor dear, I want you to give
+him this letter and tell him what I've told you, and--and bring him
+back to me.
+
+     [Gives VICTOR a letter.
+
+KARENIN. I'll do what I can.
+
+     [Takes letter, turns away and sits chair R. of table C.
+
+LISA. Tell him I will forget everything if only he will come back. I
+thought of mailing this, only I know him: he'd have a good impulse,
+first thwarted by some one, some one who would finally make him act
+against himself.
+
+     [Pause.
+
+Are you--are you surprised I asked you?
+
+KARENIN. No. (He hesitates.) But--well, candidly, yes. I am rather
+surprised.
+
+LISA. But you are not angry?
+
+KARENIN. You know I couldn't be angry with you.
+
+LISA. I ask you because I know you're so fond of him.
+
+KARENIN. Of him--and of you too. Thank you for trusting me. I'll do
+all I can.
+
+LISA. I know you will. Now I'm going to tell you everything. I went
+to-day to Afremov's, to find out where he was. They told me he was
+living with the gypsies. Of course that's what I was afraid of. I know
+he'll be swept off his feet if he isn't stopped in time. So you'll go,
+won't you?
+
+KARENIN. Where's the place?
+
+LISA. It's that big tenement where the gypsy orchestra lives, on the
+left bank below the bridge. I went there myself. I went as far as the
+door, and was just going to send up the letter, but somehow I was
+afraid. I don't know why. And then I thought of you. Tell him, tell
+him I've forgotten everything and that I'm here waiting for him to
+come home. (Crosses to KARENIN--a little pause.) Do it out of love for
+him, Victor, and out of friendship for me.
+
+     [Another pause.
+
+KARENIN. I'll do all I can.
+
+     [He bows to her and goes out L.U. Enter SASHA L.U., goes L. over
+      near table C.
+
+SASHA. Has the letter gone? (LISA nods.) He had no objections to
+taking it himself?
+
+     [LISA, R. C., shakes head.
+
+SASHA (L.C.). Why did you ask him? I don't understand it.
+
+LISA. Who else was there?
+
+SASHA. But you know he's in love with you.
+
+LISA. Oh, that's all past. (Over to table C.) Do you think Fedya will
+come back?
+
+SASHA. I'm sure he will, but--
+
+     [Enter ANNA PAVLOVNA.
+
+ANNA PAVLOVNA. Where's Victor Karenin?
+
+LISA. Gone.
+
+ANNA PAVLOVNA. Gone?
+
+LISA. I've asked him to do something for me.
+
+ANNA PAVLOVNA. What was it? Another secret?
+
+LISA. No, not a secret. I simply asked him to take a letter to Fedya.
+
+ANNA PAVLOVNA. To Fedor Protosov?
+
+LISA. Oh, to Fedya, Fedya.
+
+ANNA PAVLOVNA. Then it's not going to be over?
+
+LISA. I can't let him leave me.
+
+ANNA PAVLOVNA. Oh, so we shall commence all over again?
+
+LISA. I'll do anything you like, but I can't give him up.
+
+ANNA PAVLOVNA. You don't mean you want him to come back?
+
+LISA. Yes, yes.
+
+ANNA PAVLOVNA. Let that reptile into the house again!
+
+LISA. Please don't talk like that. He's my husband.
+
+ANNA PAVLOVNA. Was your husband.
+
+LISA. No. He's still my husband.
+
+ANNA PAVLOVNA. Spendthrift. Drunkard. Reprobate. And you'll not part
+from him!
+
+LISA. Oh, Mother, why do you keep on hurting me! You seem to enjoy it.
+
+ANNA PAVLOVNA. Hurt you, do I? Enjoy it, do I? Very well, then, if
+that's the case, I'd better go.
+
+     [Pause.
+
+I see I'm in your way. You want me to go. Well, all I can say is I
+can't make you out. I suppose you're being "modern" and all that. But
+to me, it's just plain disgusting. First, you make up your mind to
+separate from your husband, and then you up and send for another man
+who's in love with you--
+
+LISA. Mother, he's not.
+
+ANNA PAVLOVNA. You know Karenin proposed to you, and he's the man you
+pick out to bring back your husband. I suppose you do it just to make
+him jealous.
+
+LISA. Oh, Mother, stop it. Leave me alone.
+
+ANNA PAVLOVNA. That's right. Send off your mother. Open the door to
+that awful husband. Well, I can't stand by and see you do it. I'll go.
+I'm going. And God be with you and your extraordinary ways.
+
+     [Exit L. U. with suppressed rage.
+
+LISA (sinking into a chair R. of table C.). That's the last straw.
+
+SASHA. Oh, she'll come back. We'll make her understand. (Going to the
+door and following after her mother.) Now, Mother darling, listen--
+listen--
+
+     [Exit L. U.
+
+     [All lights dim to black out.
+
+CURTAIN
+
+
+
+SCENE II
+
+A room at the gypsies', dark but beautifully lit. The actual room is
+scarcely seen, and although at first it appears squalid, there are
+flaring touches of Byzantine luxury. Gypsies are singing. FEDYA is
+lying on the sofa, his eyes closed, coat off. An OFFICER sits at the
+table, on which there are bottles of champagne and glasses. Beside him
+sits a musician taking down the song.
+
+AFREMOV (standing L. U.). Asleep?
+
+FEDYA (on couch L. Raising his hand warningly). Sh! Don't talk! Now
+let's have "No More at Evening."
+
+GYPSY LEADER. Impossible, Fedor Protosov. Masha must have her solo
+first.
+
+FEDYA. Afterwards. Now let's have "No More at Evening."
+
+     [Gypsies sing.
+
+GYPSY WOMAN (R. C., when they finish singing, turning to Musician who
+is sitting at table R., with his back to audience). Have you got it?
+
+MUSICIAN. It's impossible to take it down correctly. They change the
+tune each time, and they seem to have a different scale, too. (He
+calls a gypsy woman.) Is this it?
+
+     [He hums a bar or two.
+
+GYPSY WOMAN (clapping her hands). Splendid! Wonderful! How can you do
+it?
+
+FEDYA (rising. Goes to table L. back of couch and pours out glass of
+wine). He'll never get it. And even if he did and shovelled it into an
+opera, he'd make it seem absolutely meaningless.
+
+AFREMOV. Now we'll have "The Fatal Hour."
+
+     [Gypsies sing quartette. During this song, FEDYA is standing down
+      R., keeping time with the wine glass from which he has drunk.
+      When they finish he returns to the couch and falls into MASHA'S
+      arms.
+
+FEDYA. God! That's it! That's it! That's wonderful. What lovely things
+that music says. And where does it all come from, what does it all
+mean?
+
+     [Another pause.
+
+To think that men can touch eternity like that, and then--nothing--
+nothing at all.
+
+MUSICIAN. Yes, it's very original.
+
+     [Taking notes.
+
+FEDYA. Original be damned. It's real.
+
+MUSICIAN. It's all very simple, except the rhythm. That's very
+strange.
+
+FEDYA. Oh, Masha, Masha! You turn my soul inside out.
+
+     [Gypsies hum a song softly.
+
+MASHA (sitting on couch L. with FEDYA). Do I? But what was it I asked
+you for?
+
+FEDYA. What? Oh, money. Voila, mademoiselle.
+
+     [He takes money front his trousers pocket. MASHA laughs, takes
+      the money, counts it swiftly, and hides it in her dress.
+
+FEDYA. Look at this strange creature. When she sings she rushes me
+into the sky and all she asks for is money, little presents of money
+for throwing open the Gates of Paradise. You don't know yourself, at
+all, do you?
+
+MASHA. What's the use of me wondering about myself? I know when I'm in
+love, and I know that I sing best when my love is singing.
+
+FEDYA. Do you love me?
+
+MASHA (murmuring). I love you.
+
+FEDYA. But I am a married man, and you belong to this gypsy troupe.
+They wouldn't let you leave it, and--
+
+MASHA (interrupting). The troupe's one thing, and my heart's another.
+I love those I love, and I hate those I hate.
+
+FEDYA. Oh, you must be happy to be like that.
+
+MASHA. I'm always happy when handsome gentlemen come and say nice
+things to me. (Gypsies stop singing.)
+
+     [A GYPSY entering speaks to FEDYA.
+
+GYPSY. Some one asking for you.
+
+FEDYA. Who?
+
+Gypsy. Don't know. He's rich, though. Fur coat.
+
+FEDYA. Fur coat? O my God, show him in.
+
+AFREMOV. Who the devil wants to see you here?
+
+FEDYA (carelessly). God knows, I don't. (Begins to hum a song.)
+
+     [KARENIN comes in, looking around the room.
+
+(Exclaiming). Ha! Victor! You're the last man in the world I expected
+to break into this enchanting milieu. Take off your coat, and they'll
+sing for you.
+
+KARENIN. Je voudrais vous parler sans temoins.
+
+     [MASHA rises and joins the group R.
+
+FEDYA. Oh.... What about?
+
+KARENIN. Je viens de chez vous. Votre femme ma charge de cette lettre,
+et puis--
+
+     [FEDYA takes the letter, opens it, reads. He frowns, then smiles
+      affectionately at KARENIN.
+
+FEDYA. You know what's in this letter, Victor?
+
+     [He is smiling gently all the time.
+
+KARENIN (looking at FEDYA rather severely). Yes, I know. But really,
+Fedya, you're in no--
+
+FEDYA (interrupting). Please, please don't think I'm drunk and don't
+realize what I'm saying. Of course I'm drunk, but I see everything
+very clearly. Now go ahead. What were you told to tell me?
+
+KARENIN (is standing L. C. Shrugging his shoulders). Your wife asked
+me to find you and to tell you she's waiting for you. She wants you to
+forget everything and come back.
+
+     [Pause.
+
+KARENIN (stiffly). Elizaveta Protosova sent for me and suggested that
+I--
+
+FEDYA (as he hesitates). Yes.
+
+KARENIN (finishing rather lamely). But I ask you not so much for her
+as for myself--Fedya, come home.
+
+FEDYA (looking up at him, smiling rather whimsically). You're a much
+finer person than I am, Victor. Of course that's not saying much. I'm
+not very much good, am I? (Laughing gently.) But that's exactly why
+I'm not going to do what you want me to. It's not the only reason,
+though. The real reason is that I just simply can't. How could I?
+
+KARENIN (persuasively). Come along to my rooms, Fedya, and I'll tell
+her you'll be back to-morrow.
+
+FEDYA (wistfully). To-morrows can't change what we are. She'll still
+be she, and I will still be I to-morrow. (Goes to the table and
+drinks.) No, it's better to have the tooth out in one pull. Didn't I
+say that if I broke my word she was to leave me? Well, I've broken it,
+and that's enough.
+
+KARENIN. Yes. For you, but not for her.
+
+FEDYA (down L. Politely insolent). You know ... it's rather odd, that
+you, of all men, should take so much trouble to keep our marriage from
+going to pieces.
+
+KARENIN (revolted). Good God, Fedya! You don't think--
+
+     [MASHA crosses L., goes to FEDYA. FEDYA interrupting him with a
+      return of his former friendliness.
+
+FEDYA. Come now, my dear Victor, you shall hear them sing.
+
+MASHA (whispering to FEDYA). What's his name? We must honor him with a
+song.
+
+FEDYA (laughing). O good God, yes! Honor him by all means. His name is
+Victor Michaelovitch. (Saluting Karenin.) Victor, my lord! son of
+Michael!
+
+     [The gypsies sing a song of greeting and laudation. As they begin
+      to sing, MASHA and FEDYA sit on couch L.
+
+(When song is finished.)
+
+KARENIN (in an imploring tone). Fedya!
+
+     [Exits quietly L. U.
+
+FEDYA (business with MASHA). Where's the fur coat? Gone, eh? All
+right. May the devil go with it.
+
+FEDYA. Do you know who that was?
+
+MASHA. I heard his name.
+
+FEDYA. Ah, he's a splendid fellow. He came to take me home to my wife.
+You see she loves even a fool like me, (caressing her hair) and look
+what I'm doing.
+
+MASHA. You should go back to her and be very sorry.
+
+FEDYA. Do you think I should? (He kisses her.) Well, I think I
+shouldn't.
+
+MASHA. Of course, you needn't go back to her if you don't love her.
+Love is all that counts.
+
+FEDYA (smiling). How do you know that?
+
+MASHA (looking at him timidly). I don't know, but I do.
+
+FEDYA. Now, let's have "No More at Evening." (As the gypsies sing,
+MASHA lies on her back across his lap, looking up into his face, which
+she draws down to her, and they kiss until the music begins to cease.)
+That's wonderful! Divine! If I could only lie this way forever, with
+my arms around the heart of joy, and sleep ... and die.... (He closes
+his eyes; his voice trails away.)
+
+     [Lights dim and out, then the
+
+CURTAIN
+
+
+
+SCENE III
+
+SOPHIA KARENINA'S boudoir. SOPHIA KARENINA, VICTOR'S mother, is
+reading a book. She is a great lady, over fifty, but tries to look
+younger. She likes to interlard her conversation with French words. A
+servant enters.
+
+SERVANT (enters R., announcing). Prince Sergius Abreskov.
+
+SOPHIA KARENINA (on sofa over L.). Show him in, please.
+
+     [She turns and picks up hand mirror from table back of couch,
+      arranging her hair.
+
+PRINCE SERGIUS (enters R. I. Entering). J'espere que je ne force pas
+la consigne.
+
+     [Crossing to sofa L. He kisses her hand. He is a charming old
+      diplomat of seventy.
+
+SOPHIA KARENINA. Ah, you know well que vous etes toujours le bien
+venu.... Tell me, you have received my letter?
+
+PRINCE SERGIUS. I did. Me voila. (Sits L. on sofa L.) Sophia Karenina
+(working up to distress). Oh, my dear friend, I begin to lose hope.
+She's bewitched him, positively bewitched him. Il est ensorcele. I
+never knew he could be so obstinate, so heartless, and so indifferent
+to me. He's changed completely since that woman left her husband.
+
+PRINCE SERGIUS. How do matters actually stand?
+
+SOPHIA KARENINA. Well, he's made up his mind to marry her at any cost.
+
+PRINCE SERGIUS. And her husband?
+
+SOPHIA KARENINA. He agrees to a divorce.
+
+PRINCE SERGIUS. Really?
+
+SOPHIA KARENINA. And Victor is willing to put up with all the
+sordidness, the vulgarity of the divorce court, the lawyers, evidences
+of guilt ... tout ca est degoutant. I can't understand his sensitive
+nature not being repelled by it.
+
+PRINCE SERGIUS (smiling). He's in love, and when a man's really in
+love--
+
+SOPHIA KARENINA (interrupting). In our time love could remain pure,
+coloring one's whole life with a romantic friendship. Such love I
+understand and value.
+
+PRINCE SERGIUS (sighing). However, the present generation refuses to
+live on dreams. (He coughs delicately.) La possession de l'ame ne leur
+suffit plus. So what is the alternative? But tell me more of Victor.
+
+SOPHIA KARENINA. There's not very much to say. He seems bewitched,
+hardly my son. Did you know I'd called upon her? Victor pressed me so
+it was impossible to refuse. But Dieu merci, I found her out. So I
+merely left my card, and now she has asked me if I could receive her
+to-day, and I am expecting her (she glances at her watch) any moment
+now. I am doing all this to please Victor, but conceive my feelings. I
+know you always can. Really, really, I need your help.
+
+PRINCE SERGIUS (bowing). Thank you for the honor you do me.
+
+SOPHIA KARENINA. You realize this visit decides Victor's fate. I must
+refuse my consent, or---- But that's impossible.
+
+PRINCE SERGIUS. Have you met her?
+
+SOPHIA KARENINA. I've never seen her, but I'm afraid of her. No good
+woman leaves her husband, especially when there's nothing obviously
+intolerable about him. Why, I've seen Protosov often with Victor, and
+found him even quite charming.
+
+PRINCE SERGIUS (murmurs). So I've heard. So I've heard.
+
+SOPHIA KARENINA (continuing). She should bear her cross without
+complaint. And Victor must cease trying to persuade himself that his
+happiness lies in defying his principles. What I don't understand is
+how Victor, with his religious views, can think of marrying a divorced
+woman. I've heard him say over and over again--once quite lately--
+that divorce is totally inconsistent with true Christianity. If she's
+been able to fascinate him to that point, I am afraid of her.--But how
+stupid of me to talk all the time! Have you spoken to him at all? What
+does he say? And don't you thoroughly agree with me?
+
+PRINCE SERGIUS. Yes, I've spoken to Victor. I think he really loves
+her, has grown accustomed to the idea of loving her, pour ainsi dire.
+(Shaking his head.) I don't believe he could ever now care for another
+woman.
+
+SOPHIA KARENINA (sighing). And Varia Casanzeva would have made him
+such a charming wife. She's so devoted already.
+
+PRINCE SERGIUS (smiling). I am afraid I hardly see her in the present
+... tableau. (Earnestly.) Why not submit to Victor's wish and help
+him?
+
+SOPHIA KARENINA. To marry a divorcee? And afterwards have him running
+into his wife's husband? How can you calmly suggest that a mother
+accept such a situation for her son?
+
+PRINCE SERGIUS. But, chere amie, why not approve of the inevitable?
+And you might console yourself by regarding the dangers he'll avoid by
+marrying this gentle, lovely woman. After all, suppose he conceived a
+passion for some one----
+
+     [Convey the word "disreputable".
+
+SOPHIA KARENINA. How can a good woman leave her husband?
+
+PRINCE SERGIUS. Ah, that's not like you. You're unkind and you're
+harsh. Her husband is the sort of man--well, he's his own worst enemy.
+A weakling, a ne'er-do-well--he's spent all his money and hers too.
+She has a child. Do you think you can condemn her for leaving him? As
+a matter of fact she didn't leave him, he left her.
+
+SOPHIA KARENINA (faintly). Oh what a mud-pen I'm slipping into!
+
+PRINCE SERGIUS (amused). Could your religion aid you?
+
+SOPHIA KARENINA (smelling her salts). In this instance, religion would
+require of me the impossible. C'est plus fort que moi.
+
+PRINCE SERGIUS. Fedya himself--you know what a charming clever
+creature he is when he's in his senses--he advised her to leave him.
+
+     [Enter VICTOR who kisses his mother's hand and greets PRINCE SERGIUS.
+
+KARENIN. Ah, Prince Sergius! (Shakes hands with Prince--formally.)
+Maman, I've come to tell you that Elizaveta Protosova will be here
+directly. There's only one thing I ask you: do you still refuse your
+consent to my marriage----
+
+SOPHIA KARENINA (interrupting). And I most assuredly do.
+
+KARENIN (continuing. Frowning). In that case all I ask is for you not
+to speak to her about it.
+
+SOPHIA KARENINA. I don't suppose we shall even mention the subject. I
+certainly shan't.
+
+KARENIN (standing at head of sofa L.). If you don't, she won't.
+(Pleadingly.) Mother dear, I just want you to know her.
+
+SOPHIA KARENINA. One thing I can't understand. How is it you want to
+marry Lisa Protosova, a woman with a living husband, and at the same
+time believe divorce is a crime against Christianity?
+
+KARENIN. Oh, Maman, that's cruel of you. Life is far too complex to be
+managed by a few formulas. Why are you so bitter about it all?
+
+SOPHIA KARENINA (honestly). I love you. I want you to be happy.
+
+KARENIN (imploringly to PRINCE SERGIUS) Sergius Abreskov!
+
+PRINCE SERGIUS (to SOPHIA KARENINA). Naturally you want him happy. But
+it's difficult for our hearts, wearied from the weight of years, to
+feel the pulse of youth and sympathize, especially is it difficult for
+you, my friend, who have schooled yourself to view Victor's happiness
+in a single way....
+
+SOPHIA KARENINA. Oh, you're all against me. Do as you like. Vous etes
+majeur. (Sniffing into her pocket handkerchief.) But you'll kill me.
+
+KARENIN (deeply distressed). Ah, Mother, please. It's worse than cruel
+to say things like that.
+
+PRINCE SERGIUS (smiling to VICTOR). Come, come, Victor, you know your
+mother speaks more severely than she could ever act.
+
+SOPHIA KARENINA. I shall tell her exactly what I think and feel, and I
+hope I can do it without offending her.
+
+PRINCE SERGIUS. I am sure of it.
+
+     [Enter FOOTMAN.
+
+Here she is.
+
+KARENIN. I'll go. (Goes to back of sofa.)
+
+FOOTMAN (announcing). Elizaveta Andreyevna Protosova.
+
+KARENIN (warningly). Now, Mother.
+
+     [He goes out L. PRINCE SERGIUS rises.
+
+SOPHIA KARENINA (majestically). Show her in. (To PRINCE SERGIUS.)
+Please remain.
+
+PRINCE SERGIUS. I thought you might prefer a tete-a-tete?
+
+SOPHIA KARENINA. No, no. I rather dread it. And if I want to be left
+alone in the room with her, I'll drop my handkerchief. Ca dependra.
+
+PRINCE SERGIUS. I'm sure you're going to like her immensely.
+
+SOPHIA KARENINA. Oh you're all against me.
+
+     [Enter LISA R. and crosses to R. C.
+
+(Rising) How do you do? I was so sorry not to find you at home and it
+is most kind of you to come to see me.
+
+LISA (R.C.). I never expected the honor of your visit, and I am so
+grateful that you permit me to come and see you.
+
+SOPHIA KARENINA (C.). You know Prince Sergius Abreskov?
+
+PRINCE SERGIUS (L.--Heartily). Yes, I have had the pleasure. (Crossing
+to her, he shakes hands.) My niece Nellie has spoken often of you to
+me.
+
+     [Goes to L.C.
+
+LISA. Yes, we were great friends. (She glances shyly around her.) And
+still are. (To SOPHIA.) I never hoped that you would wish to see me.
+
+SOPHIA KARENINA. I knew your husband quite well. He was a great friend
+of Victor's and used frequently to visit us in Tambov, (politely)
+where you were married, I believe.
+
+LISA (looking down). Yes.
+
+SOPHIA KARENINA. But when you returned to Moscow we were deprived of
+the pleasure of his visit.
+
+LISA. Yes, then he stopped going anywhere.
+
+SOPHIA KARENINA. Ah, that explains our missing him.
+
+     [Awkward pause.
+
+PRINCE SERGIUS (to LISA). The last time I'd the pleasure of seeing you
+was in those tableaux at the Dennishovs. You were charming in your
+part.
+
+LISA. How good of you to think so! Yes, I remember perfectly.
+
+     [Another awkward silence.
+
+(To SOPHIA KARENINA.) Sophia Karenina, please forgive me if what I am
+going to say offends you, but I don't know how to cover up what's in
+my heart. I came here to-day because Victor Karenin said--because he
+said that--because he--I mean because you wanted to see me. (With a
+catch in her voice.) It's rather difficult--but you're so sweet.
+
+PRINCE SERGIUS (very sympathetic). There, there, my dear child, I
+assure you there's nothing in the world to---- (He breaks off when he
+sees SOPHIA KARENINA pointing impatiently to the floor. She has
+dropped her handkerchief.) Permit me. (He picks it up, presenting it
+to her with a smile and a bow; then looks casually at his watch.) Ah,
+five o'clock already. (To SOPHIA KARENINA.) Madame, in your salon
+pleasure destroys the memory of time. You will excuse me.
+
+     [He kisses her hand.
+
+SOPHIA KARENINA (smiling). Au revoir, mon ami.
+
+PRINCE SERGIUS (bowing and shaking hands with LISA). Elizaveta
+Protosova, au revoir.
+
+     [He goes out R.
+
+SOPHIA KARENINA. Now listen, my child. Please believe how truly sorry
+for you I am and that you are most sympathetique to me. But I love my
+son alone in this world, and I know his soul as I do my own. He's very
+proud--oh I don't mean of his position and money--but of his high
+ideals, his purity. It may sound strange to you, but you must believe
+me when I tell you that at heart he is as pure as a young girl.
+
+LISA. I know.
+
+SOPHIA KARENINA. He's never loved a woman before. You're the first. I
+don't say I'm not a little jealous. I am. But that's something we
+mothers have to face. Oh, but your son's still a baby, you don't know.
+I was ready to give him up, though--but I wanted his wife to be as
+pure as himself.
+
+LISA (flushing hotly). And I, am I not----
+
+SOPHIA KARENINA (interrupting her kindly). Forgive me, my dear. I know
+it's not your fault and that you've been most unhappy. And also I know
+my son. He will bear anything, and he'll bear it without saying a
+word, but his hurt pride will suffer and bring you infinite remorse.
+You must know how strongly he has always felt that the bond of
+marriage is indissoluble.
+
+LISA. Yes. I've thought of all that.
+
+SOPHIA KARENINA. Lisa, my dear, you're a wise woman and you're a good
+woman too. If you love him, you must want his happiness more than you
+want your own. You can't want to cripple him so that he'll be sorry
+all his life--yes, sorry even though he never says a word.
+
+LISA. I've thought about it so much. I've thought about it and I've
+talked to him about it. But what can I do when he says he can't live
+without me? I said to him only the other day, "Victor, let's just be
+friends. Don't spoil your life. Don't ruin yourself by trying to help
+me." And do you know what he did? He laughed.
+
+SOPHIA KARENINA. Of course he would, at the time.
+
+LISA. If you could persuade him not to marry me, you know I'll agree,
+don't you? I just want him to be happy. I don't care about myself.
+Only please help me. Please don't hate me. Let's do all we can for
+him, because, after all, we both love him.
+
+SOPHIA KARENINA. Yes, I know. And I think I love you too. I really do.
+(She kisses her. LISA begins to cry.) Oh, it's all so dreadful. If
+only he had fallen in love with you before you were married!
+
+LISA (sobbing). He--he says he did--but he had to be loyal to his
+friend.
+
+SOPHIA KARENINA. Alas, it's all very heart-breaking. But let us love
+each other, and God will help us to find what we are seeking.
+
+KARENIN (entering L. I). Mother darling. I've heard what you just
+said. I knew you'd love her. And now everything must come right.
+
+SOPHIA KARENINA (hastily). But nothing's decided. All I can say is,
+had things been different, I should have been very glad. (Tenderly.)
+So very glad.
+
+     [She kisses LISA.
+
+KARENIN (smiling). Please don't change. That's all I ask.
+
+     [Lights down and out.
+
+CURTAIN
+
+
+
+SCENE IV
+
+A plainly furnished room, bed, table and stove. FEDYA alone writing.
+
+At rise MASHA is heard outside calling "FEDYA! FEDYA!" MASHA enters R.
+I, crosses to FEDYA on bed C. and embraces him.
+
+FEDYA. Ah, thank Heaven you've come. I was wasting away in boredom.
+
+MASHA. Then why didn't you come over to us? (Sees wine glass on chair
+near bed.) So, you've been drinking again? And after all your
+promises!
+
+FEDYA (embarrassed). I didn't come over because I had no money.
+
+MASHA. Oh, why is it I love you so.
+
+FEDYA. Masha!
+
+MASHA (imitating him). Masha! Masha! What's that mean? If you loved
+me, by now you'd have your divorce. You say you don't love your wife.
+(FEDYA winces.) But you stick to her like grim death.
+
+FEDYA (interrupting her). You know why I don't want to.
+
+MASHA. Nonsense. They're right when they say you're no good. It's your
+mind that you can never make up comfortably causing you all the worry.
+
+FEDYA. You know perfectly well that the only joy I've got in life is
+being in love with you.
+
+MASHA. Oh, it's always "My joy," "Your love." Where's your love and my
+joy?
+
+FEDYA (a little wearily). Well, Masha, after all, you've got all I can
+give, the best I've ever had to give, perhaps, because you're so
+strong, so beautiful, that sometimes you've made me know how to make
+you glad. So why torture yourself?
+
+MASHA (kneels and puts her arms around his neck). I won't if you're
+sure you love me.
+
+FEDYA (coming closer to her). My beautiful young Masha.
+
+MASHA (tearfully, searching his face). You do love me?
+
+FEDYA. Of course, of course.
+
+MASHA. Only me, only me?
+
+FEDYA (kissing her). Darling, only you.
+
+MASHA (with a return to brightness). Now read me what you've written.
+
+FEDYA. It may bore you.
+
+MASHA (reproachfully). How could it?
+
+FEDYA (reads).
+
+     "The snow was flooded in moonlight and the birch trees wavered
+      their stark shadows across it like supplicating arms. Suddenly
+      I heard the soft padded sound of snow falling upon snow, to
+      slowly perceive a figure, the slender figure of a young child
+      attempting to arouse itself almost at my feet--I----"
+
+     [Enter IVAN and NASTASIA. They are two old gypsies, MASHA'S
+      parents.
+
+NASTASIA (stepping up to MASHA). So here you are--you cursed little
+stray sheep. No disrespect to you, sir. (To MASHA.) You black-hearted,
+ungrateful little snake. How dare you treat us like this, how dare
+you, eh?
+
+Ivan (to FEDYA). It's not right, sir, what you've done, bringing to
+her ruin our only child. It's against God's law.
+
+NASTASIA (to MASHA). Come and get out of here with me. You thought
+you'd skip, didn't you? And what was I supposed to tell the troupe
+while you dangled around here with this tramp? What can you get out of
+him, tell me that? Did you know he hasn't got a kopek to his name,
+didn't you?
+
+     [During scene with parents, FEDYA sits dumbly on the bed, bewildered.
+He puts his forehead against MASHA'S face and clings to her like a
+child.
+
+MASHA (sullenly). I haven't done anything wrong. I love this
+gentleman, that's all. I didn't leave the troupe either. I'll go on
+singing just the same.
+
+Ivan. If you talk any more, I'll pull your hair all out for you, you
+loose little beast, you. (To FEDYA, reproachfully.) And you, sir, when
+we were so fond of you--why, often and often we used to sing for you
+for nothing and this is how you pay us back.
+
+NASTASIA (rocking herself to and fro). You've ruined our daughter, our
+very own, our only one, our best beloved, our diamond, our precious
+one, (with sudden fury). You've stamped her into the dirt, you have.
+Where's your fear of God?
+
+FEDYA. Nastasia, Nastasia, you've made a mistake. Your daughter is
+like a sister to me. I haven't harmed her at all. I love her, that's
+true. But how can I help it?
+
+IVAN. Well, why didn't you love her when you had some money? If you'd
+paid us ten thousand rubles, you could have owned her, body and soul.
+That's what respectable gentlemen do. But you--you throw away every
+kopek you've got and then you steal her like you'd steal a sack of
+meal. You ought to be ashamed, sir.
+
+MASHA (rising, puts her arm around his neck). He didn't steal me. I
+went to him myself, and if you take me away now, I'll come right back.
+If you take me away a thousand times, I'll come back to him. I love
+him and that's enough. My love will break through anything--through
+anything. Through anything in the whole damn world.
+
+NASTASIA (trying to soothe her). Now, Mashenka darling, don't get
+cross. You know you haven't behaved well to your poor old parents.
+There, there, come along with us now.
+
+     [With greedy fingers that pretend to caress, NASTASIA seizes her
+      savagely and suddenly at the end of this speech and draws her to
+      the door. MASHA cries out "FEDYA! FEDYA!" as she exits R.
+
+IVAN (alongside). You open your mouth again and I'll smash you dumb.
+(To FEDYA.) Good-bye, your worship.
+
+     [All exit R. I.
+
+     [FEDYA sits as though stupefied. The gypsies exit noisily. There
+      is a pause. He drinks; then PRINCE SERGIUS appears, very quiet
+      and dignified, at the door.
+
+PRINCE. Excuse me. I'm afraid I'm intruding upon a rather painful
+scene.
+
+FEDYA (getting up). With whom have I the honor---- (recognizing the
+Prince). Ah, Prince Sergius, how do you do?
+
+     [They shake hands.
+
+PRINCE (in a distinguished manner). I repeat that I am afraid to be
+most inopportune. I would rather not have heard, but since I have,
+it's my duty to say so. When I arrived I knocked several times, but I
+presume you could not have heard through such uproar.
+
+FEDYA. Do sit down. (PRINCE sits chair R.C.) Thanks for telling me you
+heard. (Sits on bed up C.) It gives me a chance to explain it all.
+Forgive me for saying your opinion of me can't concern me, but I want
+to tell you that the way her parents talked to that young girl, that
+gypsy singer, was absolutely unjust. She's as pure as your own mother.
+My relations with her are simply friendly ones. Possibly there is a
+ray of poetry in them, but that could hardly degrade her. However,
+what can I do for you?
+
+PRINCE SERGIUS. Well, to begin----
+
+FEDYA (interrupting). Excuse me, Prince, but my present social
+position hardly warrants a visit from you.
+
+     [Smiling.
+
+PRINCE SERGIUS. I know that, but I ask you to believe that your
+changed position does not influence me in what I am about to tell you.
+
+FEDYA (interrogatively). Then?
+
+PRINCE SERGIUS. To be as brief as possible, Victor Karenin, the son of
+my old friend, Sophia Karenina, and she herself, have asked me to
+discover from you personally what your present relations are with your
+wife, and what intentions you have regarding them.
+
+FEDYA. My relations with my wife--I should say my former wife--are
+several.
+
+PRINCE SERGIUS. As I thought, and for this reason accepted my somewhat
+difficult mission.
+
+FEDYA (quickly). I wish to say first of all that the fault was
+entirely mine. She is, just as she always was, absolutely stainless,
+faultless.
+
+PRINCE SERGIUS. Victor Karenin and especially his mother are anxious
+to know your exact intentions regarding the future.
+
+FEDYA. I've got no intentions. I've given her full freedom. I know she
+loves Victor Karenin, let her. Personally, I think he is a bore, but
+he is a good bore. So they'll probably be very happy together, at
+least in the ordinary sense and que le bon Dieu les benisse.
+
+PRINCE SERGIUS. Yes, but we----
+
+FEDYA (rising, goes L., leans on table). Please don't think I'm
+jealous. If I just said Victor was dull, I take it back. He's
+splendid, very decent, in fact the opposite of myself, and he's loved
+her since her childhood (slowly) and maybe she loved him even when we
+were married. After all, that happens, and the strongest love is
+perhaps unconscious love. Yes, I think she's always loved him far, far
+down beneath what she would admit to herself, and this feeling of nine
+has been a black shadow across our married life. But--I--I really
+don't suppose I ought to be talking to you like this, ought I?
+
+PRINCE SERGIUS. Please go on. My only object in coming was to
+understand this situation completely, and I begin to see how the
+shadow--as you charmingly express it--could have been----
+
+FEDYA (looking strangely ahead of him). Yes, no brightness could suck
+up that shadow. And so I suppose I never was satisfied with what my
+wife gave me, and I looked for every kind of distraction, sick at
+heart because I did so. I see it more and more clearly since we've
+been apart. Oh, but I sound as if I were defending myself. God knows I
+don't want to do that. No, I was a shocking bad husband. I say was,
+because now I don't consider myself her husband at all. She's
+perfectly free. There, does that satisfy you?
+
+PRINCE SERGIUS. Yes, but you know how strictly orthodox Victor and his
+family are. Of course I don't agree with them--perhaps I have broader
+views--(with a shrug) but I understand how they feel. They consider
+that any union without a church marriage is--well, to put it mildly,
+unthinkable.
+
+FEDYA. Yes, I know he's very stu--I mean strict. (With a slight
+smile.) "Conservative" is the word, isn't it? But what in God's name
+(crossing to C.) do they want, a divorce? I told them long ago I was
+perfectly willing. But the business of hiring a street-woman and
+taking her to a shady hotel and arranging to be caught by competent
+witnesses--ugh--it's all so--so loathsome.
+
+     [He shudders--pauses; and sits on bed.
+
+PRINCE SERGIUS. I know. I know. I assure you, I can sympathize with
+such a repugnance, but how can one avoid it? You see, it's the only
+way out. But, my dear boy, you mustn't think I don't sympathize with
+you. It's a horrible situation for a sensitive man and I quite
+understand how you must hate it.
+
+FEDYA. Thank you, Prince Sergius. I always knew you were kind and
+just. Now tell me what to do. Put yourself in my place. I don't
+pretend to be any better than I really am. I am a blackguard but there
+are some things that even I can't do. (With a smile and helpless
+gesture.) I can't tell lies.
+
+     [A pause.
+
+PRINCE SERGIUS. I must confess that you bewilder me. You with your
+gifts and charm and really au fond--a wonderful sense of what's right.
+How could you have permitted yourself to plunge into such tawdry
+distractions? How could you have forgotten so far what you owed to
+yourself? Tell me, why did you let your life fall into this ruin?
+
+FEDYA (suppressing emotion). I've led this sort of life for ten years
+and you're the first real person to show me sympathy. Of course, I've
+been pitied by the degraded ones but never before by a sensible, kind
+man like you. Thanks more than it's possible to say. (He seems to
+forget his train of thought and suddenly to recall it.) Ah, yes, my
+ruin. Well, first, drink, not because it tasted well, but because
+everything I did disappointed me so, made me so ashamed of myself. I
+feel ashamed now, while I talk to you. Whenever I drank, shame was
+drowned in the first glass, and sadness. Then music, not opera or
+Beethoven, but gypsy music; the passion of it poured energy into my
+body, while those dark bewitching eyes looked into the bottom of my
+soul. (He sighs.) And the more alluring it all was, the more shame I
+felt afterwards.
+
+     [Pause.
+
+PRINCE SERGIUS. But what about your career?
+
+FEDYA. My career? This seems to be it. Once I was a director of a
+bank. There was something terribly lacking between what I felt and
+what I could do. (Abruptly.) But enough, enough of myself. It makes me
+rather nervous to think about myself.
+
+     [Rises.
+
+PRINCE SERGIUS. What answer am I to take back?
+
+FEDYA (very nervous). Oh, tell them I'm quite at their disposal.
+(Walking up and down) They want to marry, and there mustn't be
+anything in their way (pause); is that it? (Stops walking very
+suddenly. Repeats.) There mustn't be anything in their way--is that
+it?
+
+PRINCE SERGIUS (pause. FEDYA sits on table L.). Yes. When do you--when
+do you think--you'll--you'll have it ready? The evidence?
+
+FEDYA (turns and looks at the PRINCE, suppressing a slight, strained
+smile). Will a fortnight do?
+
+PRINCE SERGIUS (rising). Yes, I am sure it will. (Rises and crosses to
+FEDYA.) May I say that you give them your word?
+
+FEDYA (with some impatience). Yes. Yes. (PRINCE offers his hand.)
+Good-bye, Prince Sergius. And again thanks.
+
+     [Exit PRINCE SERGIUS, R. I. FEDYA sits down in an attitude of
+      deep thought.
+
+Why not? Why not? And it's good not to be ashamed----
+
+     [Lights dim and out.
+
+CURTAIN
+
+
+
+SCENE V
+
+Private room in a cheap restaurant. FEDYA is shown in by a shabby
+waiter.
+
+WAITER. This way, sir. No one will disturb you here. Here's the
+writing paper.
+
+     [Starts to exit.
+
+FEDYA (as waiter starts to exit). Bring me a bottle of champagne.
+
+WAITER. Yes, sir.
+
+     [Exits R. C.
+
+     [FEDYA sits at table L. C., and begins to write. IVAN PETROVICH
+      appearing in the doorway R. C.
+
+IVAN PETROVICH. I'll come in, shall I?
+
+FEDYA (sitting L. of table L. C. Very serious). If you want to, but
+I'm awfully busy, and--(seeing he has already entered) Oh, all right,
+do come in.
+
+IVAN PETROVICH (C.). You're going to write an answer to their demand.
+I'll help you. I'll tell you what to say Speak out. Say what you mean.
+It's straight from the shoulder. That's my system. (Picks up box that
+FEDYA has placed on table--opens it and takes out a revolver.) Hallo!
+What's this? Going to shoot yourself. Of course, why not? I
+understand. They want to humiliate you, and you show them where the
+courage is--put a bullet through your head and heap coals of fire on
+theirs. I understand perfectly. (The waiter enters with champagne on
+tray, pours a glass for FEDYA, then exits. PETROVICH takes up the
+glass of wine and starts to drink. FEDYA looks up from his writing.) I
+understand everything and everybody, because I'm a genius.
+
+FEDYA. So you are, but----
+
+IVAN PETROVICH (filling and lifting his glass). Here's to your
+immortal journey. May it be swift and pleasant. Oh, I see it from your
+point of view. So why should I stop you? Life and death are the same
+to genius. I'm dead during life and I live after death. You kill
+yourself in order to make a few people miss you, but I--but I--am
+going to kill myself to make the whole world know what it lost. I
+won't hesitate or think about it. I'll just take the revolver--one,
+two--and all is over--um. But I am premature. My hour is not yet
+struck. (He puts the revolver down.) But I shall write nothing. The
+world will have to understand all by itself. (FEDYA continues to
+write.) The world, what is it but a mass of preposterous creatures,
+who crawl around through life, understanding nothing--nothing at all
+--do you hear me? (FEDYA looks up, rather exasperated.) Oh, I'm not
+talking to you. All this is between me and the cosmos. (Pours himself
+out another drink.) After all, what does humanity most lack?
+Appreciation for its geniuses. As it is, we're persecuted, tortured,
+racked, through a lifetime of perpetual agony, into the asylum or the
+grave. But no longer will I be their bauble. Humanity, hypocrite that
+you are--to hell with you.
+
+     [Drinks wine.
+
+FEDYA (having finished his letter). Oh, go away, please.
+
+IVAN PETROVICH. Away? (With a gesture.) Away? Me? (With profound
+resolve.) So be it. (He leans over the table, faces FEDYA.) I shall
+away. I'll not deter you from accomplishing what I also shall commit--
+all in its proper moment, however. Only I should like to say this----
+
+FEDYA. Later. Later. But now, listen, old man, give this to the head
+waiter. (Handing him some money.) You understand?
+
+IVAN PETROVICH. Yes, but for God's sake wait for me to come back.
+(Moves away.) I've something rare to tell you, something you'll never
+hear in the next world--at least not till I get there---- Look here,
+shall I give him all this money?
+
+FEDYA. No, just what I owe him.
+
+     [Exit IVAN PETROVICH, whistling. FEDYA sighs with a sense of
+      relief, takes the revolver, cocks it, stands at mirror on wall
+      up R., and puts it close to his temple. Then shivers, and lets
+      his hand drop.
+
+I can't do it. I can't do it.
+
+     [Pause. MASHA is heard singing. MASHA bursts into the room.
+
+MASHA (breathless). I've been everywhere looking for you. To Popov's,
+Afremov's, then I guessed you'd be here. (Crosses to him. Sees
+revolver, turns, faces him quickly, concealing it with her body,
+stands very tense and taut, looking at him.) Oh, you fool! You hideous
+fool! Did you think you'd----
+
+FEDYA (still completely unnerved). Awful! It's been awful! I tried----
+(With a gesture of despair.) I couldn't----
+
+     [Crosses to table L. C.--leans against it.
+
+MASHA (puts her hand to her face as if terribly hurt). As if I didn't
+exist. (Crosses over to table L. C., puts down revolver.) As if I
+weren't in your life at all. Oh, how godless you are! (Brokenly.) Tell
+me, tell me, what about all my love for you?
+
+FEDYA (as if suddenly aware of a great fatigue). I wanted to set them
+free. I promised to--and when the time came I couldn't.
+
+MASHA. And what about me? What about me?
+
+FEDYA. I thought you'd be free, too. Surely my torturing you can't
+make you happy.
+
+MASHA. Oh, I can look out for myself. Maybe I'd rather be unhappy,
+miserable, wretched with you every minute than even think of living
+without you.
+
+FEDYA (up R.--half to himself). If I'd finished just now, you would
+have cried bitterly perhaps, my Masha, but you would have lived past
+it.
+
+MASHA. Oh, damn you, don't be so sure I'd cry at all. Can't you even
+be sorry for me?
+
+     [She tries to conceal her tears.
+
+FEDYA. Oh God, I only wanted to make everybody happier.
+
+MASHA. Yourself happier, you mean.
+
+FEDYA (smiling). Would I have been happier to be dead now?
+
+MASHA (sulkily). I suppose you would. (Suddenly in a tender voice,
+crossing to him.) But, Fedya, do you know what you want? Tell me, what
+do you want?
+
+FEDYA (R). I want so many things.
+
+MASHA (impatiently and clinging to him). But what? What?
+
+FEDYA. First of all, I want to set them free. How can I lie? How can I
+crawl through the muck and filth of a divorce? I can't. (Moves to end
+of table and stands there facing front.) But I must set them free
+somehow. They're such good people, my wife and Victor. I can't bear
+having them suffer.
+
+MASHA (R. of table L. C.--scornfully). Where's the good in her if she
+left you?
+
+FEDYA. She didn't. I left her.
+
+MASHA. She made you think she'd be happier without you. But go on----
+(Impatiently.) Blame yourself, what else.
+
+FEDYA. There's you, Masha. Young, lovely, awfully dear to me. If I
+stay alive, ah, where will you be?
+
+MASHA. Don't bother about me. You can't hurt me.
+
+FEDYA (sighing). But the big reason, the biggest reason of all, is
+myself. I'm just lost. Your father is right, my dear. I'm no good.
+
+MASHA (crossing to him, at once tenderly and savagely). I won't
+unfasten myself from you. I'll stick to you, no matter where you take
+me, no matter what you do. You're alive, terribly alive, and I love
+you. Fedya, drop all this horror.
+
+FEDYA. How can I?
+
+MASHA (trying to project the very essence of her vitality into him).
+Oh, you can, you can.
+
+FEDYA (slowly). When I look at you, I feel as though I could do
+anything.
+
+MASHA (proudly, fondly). My love, my love. You can do anything, get
+anywhere you want to. (FEDYA moves away impatiently up R. She sees
+letter.) So you have been writing to them--to tell them you'll kill
+yourself. You just told them you'd kill yourself, is that it? But you
+didn't say anything about a revolver. Oh, Fedya, let me think, there
+must be some way. Fedya--listen to me. Do you remember the day we all
+went to the picnic to the White Lakes with Mama and Afremov and the
+young Cossack officer? And you buried the bottles of wine in the sand
+to keep them cool while we went in bathing? Do you remember how you
+took my hands and drew me out beyond the waves till the water was
+quite silent and flashing almost up to our throats, and then suddenly
+it seemed as if there were nothing under our feet? We tried to get
+back. We couldn't and you shouted out, "Afremov," and if he hadn't
+been almost beside us and pulled us in--and how cross he was with you
+for forgetting that you couldn't swim, and after, how wonderful it was
+to stretch out safely on the sands in the sunlight. Oh, how nice every
+one was to us that day and you kept on being so sorry for forgetting
+you couldn't swim! And, Fedya, don't you see? Of course, she must know
+you can't swim. Oh, it's all getting as clear as daylight. You will
+send her this beautiful letter. Your clothes will be found on the
+river bank--but instead of being in the river you will be far away
+with me--Fedya, don't you see, don't you see? You will be dead to her,
+but alive for me. (Embraces FEDYA.)
+
+     [The lights down and out.
+
+CURTAIN
+
+
+
+SCENE VI
+
+The PROTOSOVS' drawing-room.
+
+KARENIN and LISA.
+
+KARENIN (sitting chair R.). He's promised me
+definitely, and I'm sure he'll keep to it.
+
+LISA (sitting chair R. C.). I'm rather ashamed to confess it, Victor,
+but since I found out about this--this gypsy, I feel completely free
+of him. Of course, I am not in the least jealous, but knowing this
+makes me see that I owe him nothing more. Am I clear to you, I wonder?
+
+KARENIN (coming closer to her). Yes, dear, I think I'll always
+understand you.
+
+LISA (smiling). Don't interrupt me, but let me speak as I think. The
+thing that tortured me most was I seemed to love both of you at once,
+and that made me seem so indecent to myself.
+
+KARENIN (incredulously amused). You indecent?
+
+LISA (continuing). But since I've found out that there's another
+woman, that he doesn't need me any more, I feel free, quite free of
+him. And now I can say truthfully, I love you. Because everything is
+clear in my soul. My only worry is the divorce, and all the waiting to
+be gone through before we can---- Ah, that's torturing.
+
+KARENIN. Dearest, everything will be settled soon. After all, he's
+promised, and I've asked my secretary to go to him with the petition
+and not to leave until he's signed it. Really, sometimes, if I didn't
+know him as I do, I'd think he was trying on purpose to discomfort us.
+
+LISA. No. No. It's, only the same weakness and honesty fighting
+together in him. He doesn't want to lie. However, I'm sorry you sent
+him money.
+
+KARENIN. If I hadn't, it might have delayed things. Lisa. I know, but
+money seems so ugly.
+
+KARENIN (slightly ruffled). I hardly think it's necessary to be so
+delicate with Fedya.
+
+LISA. Perhaps, perhaps. (Smiling.) But don't you think we are becoming
+very selfish?
+
+KARENIN. Maybe. But it's all your fault, dear. After all, this
+hopelessness and waiting, to think of being happy at last! I suppose
+happiness does make us selfish.
+
+LISA. Don't believe you're alone in your happiness or selfishness. I
+am so filled with joy it makes me almost afraid. Misha's all right,
+your mother loves me, and above all, you are here, close to me, loving
+me as I love you.
+
+KARENIN (bending over her and searching her eyes). You're sure you've
+no regret?
+
+LISA. From the day I found out about that gypsy woman, my mind
+underwent a change that has set me free.
+
+KARENIN. You're sure?
+
+     [Kissing her hands.
+
+LISA (passionately). Darling, I've only one desire now, and that is to
+have you forget the past and love as I do.
+
+     [Her little boy toddles in R., sees them and stops.
+
+     [To the child.
+
+Come here, my sweetheart.
+
+     [He goes to her and she takes him on her knees.
+
+KARENIN. What strange contradictory instincts and desires make up our
+beings!
+
+LISA. Why?
+
+KARENIN (slowly). I don't know. When I came back from abroad, knew I'd
+lost you, I was unhappy, terribly. Yet, it was enough for me to learn
+that you at least remembered me. Afterward, when we became friends,
+and you were kind to me, and into our friendship wavered a spark of
+something more than friendship, ah, I was almost happy! Only one thing
+tormented me: fear that such a feeling wronged Fedya. Afterwards, when
+Fedya tortured you so, I saw I could help. Then a certain definite
+hope sprang up in me. And later, when he became impossible and you
+decided to leave him, and I showed you my heart for the first time,
+and you didn't say no, but went away in tears--then I was happy through
+and through. Then came the possibility of joining our lives. Mamma
+loved you. You told me you loved me, that Fedya was gone out of your
+heart, out of your life forever, and there was only, only me.... Ah,
+Lisa, for what more could I ask! Yet the past tortured me. Awful
+fancies would flush up into my happiness, turning it all into hatred
+for your past.
+
+LISA (interrupting reproachfully). Victor!
+
+KARENIN. Forgive me, Lisa. I only tell you this because I don't want
+to hide a single thought from you. I want you to know how bad I am,
+and what a weakness I've got to fight down. But don't worry, I'll get
+past it. It's all right, dear. (He bends over, kissing the child on
+the head.) And I love him, too.
+
+LISA. Dearest, I'm so happy. Everything has happened in my heart to
+make it as you'd wish.
+
+KARENIN. All?
+
+LISA. All, beloved, or I never could say so.
+
+     [Enter the NURSE L. U.
+
+NURSE. Your secretary has come back.
+
+     [LISA and KARENIN exchange glances.
+
+LISA. Show him in here, nurse, and take Misha, will you?
+
+NURSE. Come along, my pet. It's time for your rest.
+
+     [Exit NURSE with the little boy, R.
+
+KARENIN (gets up, walks to the door). This will be Fedya's answer.
+
+LISA (kissing Karenin). At last, at last we shall know when. (She
+kisses him.)
+
+     [Enter VOZNESENSKY L. U.
+
+KARENIN. Well?
+
+SECRETARY. He's not there, sir.
+
+KARENIN. Not there? He's not signed the petition, then?
+
+SECRETARY. No. But here is a letter addressed to you and Elizaveta
+Protosova.
+
+     [Takes letter from his pocket and gives it to KARENIN.
+
+KARENIN (interrupting angrily). More excuses, more excuses. It's
+perfectly outrageous. How without conscience he is. Really, he has
+lost every claim to----
+
+LISA. But read the letter, dear; see what he says.
+
+     [KARENIN opens the letter.
+
+SECRETARY. Shall you need me, sir?
+
+Karenin. No. That's all. Thank you.
+
+     [Exit SECRETARY. KARENIN reads the letter growing astonishment
+      and concern. LISA watches his face.
+
+(Reading.)
+
+     "Lisa, Victor, I write you both without using terms of
+      endearment, since I can't feel them, nor can I conquer a sense
+      of bitterness and reproach, self-reproach principally, when I
+      think of you together in your love. I know, in spite of being
+      the husband, I was also the barrier, preventing you from coming
+      earlier to one another. C'est moi qui suis l'intrue. I stood in
+      your way, I worried you to death. Yet I can't help feeling
+      bitterly, coldly, toward you. In one way I love both of you,
+      especially Lisa Lizenska, but in reality I am more than cold
+      toward you. Yes, it's unjust, isn't it, but to change is
+      impossible."
+
+LISA. What's all that for?
+
+KARENIN (standing L. of table C., continuing).
+
+     "However, to the point. I am going to fulfill your wishes in
+      perhaps a little different way from what you desire. To lie, to
+      act a degrading comedy, to bribe women of the streets for
+      evidence--the ugliness of it all disgusts me. I am a bad man,
+      but this despicable thing I am utterly unable to do. My solution
+      is after all the simplest. You must marry to be happy. I am the
+      obstacle, consequently that obstacle must be removed."
+
+LISA (R. of table). Victor!
+
+KARENIN (reading). Must be removed? "By the time this letter reaches
+you, I shall no longer exist. All I ask you is to be happy, and
+whenever you think of me, think tender thoughts. God bless you both.
+Good-bye. FEDYA."
+
+LISA. He's killed himself!
+
+KARENIN (going hurriedly up stage L. and calls of). My secretary! Call
+back my secretary!
+
+LISA. Fedya! Fedya, darling!
+
+KARENIN. Lisa!
+
+LISA. It's not true! It's not true that I've stopped loving him! He's
+the only man in all the world I love! And now I've killed him! I've
+killed him as surely as if I'd murdered him with my own two hands!
+
+KARENIN. Lisa, for God's sake!
+
+LISA. Stop it! Don't come near me! Don't be angry with me, Victor. You
+see I, too, cannot lie!
+
+CURTAIN
+
+
+
+
+ACT II
+
+SCENE I
+
+A dirty, ill-lighted underground dive; people are lying around
+drinking, sleeping, playing cards and making love. Near the front a
+small table at which FEDYA sits; he is in rags and has fallen very
+low. By his side is PETUSHKOV, a delicate spiritual man, with long
+yellow hair and beard. Both are rather drunk.
+
+Candle light is the only lighting in this Scene.
+
+PETUSHKOV (R.C. of table C.). I know. I know. Well, that's real love.
+So what happened then?
+
+FEDYA (L. C. of table C., pensively). You might perhaps expect a girl
+of our own class, tenderly brought up, to be capable of sacrificing
+for the man she loved, but this girl was a gypsy, reared in greed, yet
+she gave me the purest sort of self-sacrificing love. She'd have done
+anything for nothing. Such contrasts are amazing.
+
+PETUSHKOV. I see. In painting we call that value. Only to realize
+bright red fully when there is green around it. But that's not the
+point. What happened?
+
+FEDYA. Oh, we parted. I felt it wasn't right to go on taking, taking
+where I couldn't give. So one night we were having dinner in a little
+restaurant, I told her we'd have to say good-bye. My heart was so
+wrung all the time I could hardly help crying.
+
+PETUSHKOV. And she?
+
+FEDYA. Oh, she was awfully unhappy, but she knew I was right. So we
+kissed each other a long while, and she went back to her gypsy troupe
+--(Slowly.) Maybe she was glad to go----
+
+     [A pause.
+
+PETUSHKOV. I wonder.
+
+FEDYA. Yes. The single good act of my soul was not ruining that girl.
+
+PETUSHKOV. Was it from pity?
+
+FEDYA. I sorry for her? Oh, never. Quite the contrary. I worshipped
+her unclouded sincerity, the energy of her clear, strong will, and God
+in Heaven, how she sang. And probably she is singing now, for some one
+else. Yes, I always looked up at her from beneath, as you do at some
+radiance in the sky. I loved her really. And now it's a tender
+beautiful memory.
+
+PETUSHKOV. I understand. It was ideal, and you left it like that.
+
+FEDYA (ruminatingly). And I've been attracted often, you know. Once I
+was in love with a grande dame, bestially in love, dog-like. Well,
+she gave me a rendezvous, and I didn't, couldn't, keep it, because
+suddenly I thought of her husband, and it made me feel sick. And you
+know, it's queer, that now, when I look back, instead of being glad
+that I was decent, I am as sorry as if I had sinned. But with Masha
+it's so different; I'm filled with joy that I've never soiled the
+brightness of my feeling for her. (He points his finger at the floor.)
+I may go much further down.
+
+PETUSHKOV (interrupting). I know so well what you mean. But where is
+she now?
+
+FEDYA. I don't know. I don't want to know. All that belongs to another
+life, and I couldn't bear to mix that life and this life.
+
+     [A POLICE OFFICER enters from up R., kicks a man who is lying on
+      the floor--walks down stage, looks at FEDYA and PETUSHKOV, then
+      exits.
+
+PETUSHKOV. Your life's wonderful. I believe you're a real idealist.
+
+FEDYA. No. It's awfully simple. You know among our class--I mean the
+class I was born in--there are only three courses: the first, to go
+into the civil service or join the army and make money to squander
+over your sensual appetites. And all that was appalling to me--perhaps
+because I couldn't do it. The second thing is to live to clear out, to
+destroy what is foul, to make way for the beautiful. But for that
+you've got to be a hero, and I'm not a hero. And the third is to
+forget it all--overwhelm it with music, drown it with wine. That's
+what I did. And look (he spreads his arms out) where my singing led me
+to.
+
+     [He drinks.
+
+PETUSHKOV. And what about family life? The sanctity of the home and
+all that--I would have been awfully happy if I'd had a decent wife. As
+it was, she ruined me.
+
+FEDYA. I beg your pardon. Did you say marriage? Oh, yes, of course.
+Well, I've been married, too. Oh, my wife was quite an ideal woman. I
+don't know why I should say was, by the way, because she's still
+living. But there's something--I don't know; it's rather difficult to
+explain--But you know how pouring champagne into a glass makes it
+froth up into a million iridescent little bubbles? Well, there was
+none of that in our married life. There was no fizz in it, no sparkle,
+no taste, phew! The days were all one color--flat and stale and gray
+as the devil. And that's why I wanted to get away and forget. You
+can't forget unless you play. So trying to play I crawled in every
+sort of muck there is. And you know, it's a funny thing, but we love
+people for the good we do them, and we hate them for the harm. That's
+why I hated Lisa. That's why she seemed to love me.
+
+PETUSHKOV. Why do you say seemed?
+
+FEDYA (wistfully). Oh, she couldn't creep into the center of my being
+like Masha. But that's not what I mean. Before the baby was born, and
+afterwards, when she was nursing him, I used to stay away for days and
+days, and come back drunk, drunk, and love her less and less each
+time, because I was wronging her so terribly. (Excitedly.) Yes. That's
+it, I never realized it before. The reason why I loved Masha was
+because I did her good, not harm. But I crucified my wife, and her
+contortions filled me almost with hatred.
+
+     [FEDYA drinks.
+
+PETUSHKOV. I think I understand. Now in my case----
+
+     [ARTIMIEV enters R. U., approaches with a cockade on his cap,
+      dyed mustache, and shabby, but carefully mended clothes.
+
+ARTIMIEV (stands L. of table). Good appetite, gentlemen! (Bowing to
+FEDYA.) I see you've made the acquaintance of our great artist.
+
+FEDYA (coolly). Yes, I have.
+
+ARTIMIEV (to PETUSHKOV). Have you finished your portrait?
+
+PETUSHKOV. No, they didn't give me the commission, after all.
+
+ARTIMIEV (sitting down on end of table). I'm not in your way, am I?
+
+     [FEDYA and PETUSHKOV don't answer.
+
+PETUSHKOV. This gentleman was telling me about his life.
+
+ARTIMIEV. Oh, secrets? Then I won't disturb you. Pardon me for
+interrupting. (To himself as he moves away.) Damn swine!
+
+     [He goes to the next table, sits down and in the dim candlelight
+      he can just be seen listening to the conversation.
+
+FEDYA. I don't like that man.
+
+PETUSHKOV. I think he's offended.
+
+FEDYA. Let him be. I can't stand him. If he'd stayed I shouldn't have
+said a word. Now, it's different with you. You make me feel all
+comfortable, you know. Well, what was I saying?
+
+PETUSHKOV. You were talking about your wife. How did you happen to
+separate?
+
+FEDYA. Oh, that? (A pause.) It's a rather curious story. My wife's
+married.
+
+PETUSHKOV. Oh, I see! You're divorced.
+
+FEDYA. No. (Smiling.) She's a widow.
+
+PETUSHKOV. A widow? What do you mean?
+
+FEDYA. I mean exactly what I say. She's a widow. I don't exist.
+
+PETUSHKOV (puzzled). What?
+
+FEDYA (smiling drunkenly). I'm dead. You're talking to a corpse.
+
+     [ARTIMIEV leans towards them and listens intently.
+
+Funny, I seem to be able to say anything to you. And it's so long ago,
+so long ago. And what is it after all to you but a story? Well, when I
+got to the climax of torturing my wife, when I'd squandered everything
+I had or could get, and become utterly rotten, then, there appeared a
+protector.
+
+PETUSHKOV. The usual thing, I suppose?
+
+FEDYA. Don't think anything filthy about it. He was just her friend,
+mine too, a very good, decent fellow; in fact the opposite of myself.
+He'd known my wife since she was a child, and I suppose he'd loved her
+since then. He used to come to our house a lot. First I was very glad
+he did, then I began to see they were falling in love with each other,
+and then--an odd thing began to happen to me at night. Do you know
+when she lay there asleep beside me (he laughs shrilly) I would hear
+him, pushing open the door, crawling into the room, coming to me on
+his hands and knees, grovelling, whining, begging me (he is almost
+shouting) for her, for her, imagine it! And I, I had to get up and
+give my place to him. (He covers his eyes with his hands in a.
+convulsive moment.) Phew! Then I'd come to myself.
+
+PETUSHKOV. God! It must have been horrible.
+
+FEDYA (wearily). Well, later on I left her--and after a while, they
+asked me for a divorce. I couldn't bear all the lying there was to be
+got through. Believe me it was easier to think of killing myself. And
+so I tried to commit suicide, and I tried and I couldn't. Then a kind
+friend came along and said, "Now, don't be foolish!" And she arranged
+the whole business for me. I sent my wife a farewell letter--and the
+next day my clothes and pocketbook were found on the bank of the
+river. Everybody knew I couldn't swim. (Pause.) You understand, don't
+you?
+
+PETUSHKOV. Yes, but what about the body? They didn't find that?
+
+FEDYA (smiling drunkenly). Oh yes, they did! You just listen! About a
+week afterwards some horror was dragged out of the water. My wife was
+called in to identify it. It was in pretty bad shape, you know. She
+took one glance. "Is that your husband?" they asked her. And she said,
+"Yes." Well, that settled it! I was buried, they were married, and
+they're living very happily right here in this city. I'm living here,
+too! We're all living here together! Yesterday I walked right by their
+house. The windows were lit and somebody's shadow went across the
+blind. (A pause.) Of course there're times when I feel like hell about
+it, but they don't last. The worst is when there's no money to buy
+drinks with.
+
+     [He drinks.
+
+ARTIMIEV. (rising and approaching them). Excuse me, but you know I've
+been listening to that story of yours? It's a very good story, and
+what's more a very useful one. You say you don't like being without
+money, but really there's no need of your ever finding yourself in
+that position.
+
+FEDYA. (interrupting). Look here, I wasn't talking to you and I don't
+need your advice!
+
+ARTIMIEV. But I'm going to give it to you just the same. Now you're a
+corpse. Well, suppose you come to life again!
+
+FEDYA. What?
+
+ARTIMIEV. Then your wife and that fellow she's so happy with--they'd
+be arrested for bigamy. The best they'd get would be ten years in
+Siberia. Now you see where you can have a steady income, don't you?
+
+FEDYA. (furiously). Stop talking and get out of here!
+
+ARTIMIEV. The best way is to write them a letter. If you don't know
+how I'll do it for you. Just give me their address and afterwards when
+the ruble notes commence to drop in, how grateful you'll be!
+
+FEDYA. Get out! Get out, I say! I haven't told you anything!
+
+ARTIMIEV. Oh, yes, you have! Here's my witness! This waiter heard you
+saying you were a corpse!
+
+FEDYA. (beside himself). You damn blackmailing beast----
+
+     [Rising.
+
+ARTIMIEV. Oh, I'm a beast, am I? We'll see about that! (FEDYA rises to
+go, ARTIMIEV seizes him.) Police! Police! (FEDYA struggles frantically
+to escape.)
+
+     [The POLICE enter and drag him away.
+
+CURTAIN
+
+
+
+SCENE II
+
+In the country. A veranda covered by a gay awning; sunlight; flowers;
+SOPHIA KARENINA, LISA, her little boy and nurse.
+
+LISA (standing C. in door. To the little boy, smiling), Who do you
+think is on his way from the station?
+
+MISHA (excitedly). Who? Who?
+
+LISA. Papa.
+
+MISHA (rapturously). Papa's coming! Papa's coming!
+
+     [Exits L. through C. door.
+
+LISA (contentedly, to SOPHIA KARENINA). How much he loves Victor! As
+if he were his real father!
+
+SOPHIA KARENINA (on sofa L. knitting--back to audience). Tant mieux.
+Do you think he ever remembers his father?
+
+LISA (sighing). I can't tell. Of course I've never said anything to
+him. What's the use of confusing his little head? Yet sometimes I feel
+as though I ought. What do you think, Mamma?
+
+SOPHIA KARENINA. I think it's a matter of feeling. If you can trust
+your heart, let it guide you. What extraordinary adjustments death
+brings about! I confess I used to think very unkindly of Fedya, when
+he seemed a barrier to all this. (She makes a gesture with her hand.)
+But now I think of him as that nice boy who was my son's friend, and a
+man who was capable of sacrificing himself for those he loved. (She
+knits.) I hope Victor hasn't forgotten to bring me some wool.
+
+LISA. Here he comes. (LISA runs to the edge of the veranda.) There's
+some one with him--a lady in a bonnet! Oh, it's mother! How splendid!
+I haven't seen her for an age!
+
+     [Enter ANNA PAVLOVNA up C.
+
+ANNA PAVLOVNA (kissing LISA). My darling. (To SOPHIA KARENINA.) How do
+you do? Victor met me and insisted on my coming down.
+
+     [Sits bench L. C. beside SOPHIA.
+
+SOPHIA KARENINA. This is perfectly charming!
+
+     [Enter VICTOR and MISHA.
+
+ANNA PAVLOVNA. I did want to see Lisa and the boy. So now, if you
+don't turn me out, I'll stay till the evening train.
+
+KARENIN. (L. C., kissing his wife, his mother and the boy).
+Congratulate me--everybody--I've a bit of luck, I don't have to go to
+town again for two days. Isn't that wonderful?
+
+LISA. (R. C.). Two days! That's glorious! We'll drive over to the
+Hermitage to-morrow and show it to mother.
+
+ANNA PAVLOVNA. (holding the boy). He's so like his father, isn't he? I
+do hope he hasn't inherited his father's disposition.
+
+SOPHIA KARENINA. After all, Fedya's heart was in the right place.
+LISA. Victor thinks if he'd only been brought up more carefully
+everything would have been different.
+
+ANNA PAVLOVNA. Well, I'm not so sure about that, but I do feel sorry
+for him. I can't think of him without wanting to cry.
+
+LISA. I know. That's how Victor and I feel. All the bitterness is
+gone. There's nothing left but a very tender memory.
+
+ANNA PAVLOVNA. (sighing). I'm sure of it. Lisa. Isn't it funny? It all
+seemed so hopeless back there, and now see how beautifully
+everything's come out!
+
+SOPHIA KARENINA. Oh, by the way, Victor, did you get my wool?
+
+KARENIN. I certainly did. (Brings a bag and takes out parcels.) Here's
+the wool, here's the eau-de-cologne, here are the letters--one on
+"Government Service" for you, Lisa---- (Hands her the letter. LISA
+opens letter, then strolls R, reading it, suddenly stops.) Well, Anna
+Pavlovna, I know you want to make yourself beautiful! I must tidy up,
+too. It's almost dinner time. Lisa, you've put your another in the
+Blue Room, haven't you?
+
+     [Pause.
+
+     [LISA is pale. She holds the letter with trembling hands and
+      reads it, KARENIN seeing her.
+
+What's the matter, Lisa? What is it?
+
+LISA. He's alive. He's alive. My God! I shall never be free from him.
+(VICTOR crosses to LISA.) What does this mean? What's going to happen
+to us?
+
+KARENIN (taking the letter and reading). I don't believe it.
+
+SOPHIA KARENINA. What is it? (Rising.) What's the matter? Why don't
+you tell us?
+
+KARENIN. He's alive! They're accusing us of bigamy! It's a summons for
+Lisa to go before the Examining Magistrate.
+
+ANNA PAVLOVNA. No--no! It can't be!
+
+SOPHIA KARENINA. Oh, that horrible man!
+
+KARENIN. So it was all a lie!
+
+LISA (with a cry of rage). Oh! I hate him so! Victor!--Fedya!--My God!
+I don't know what I'm saying. I don't know what I'm saying.
+
+     [Sinks in chair down R.
+
+ANNA PAVLOVNA (rising). He's not really alive?
+
+     [Lights dim and out.
+
+CURTAIN
+
+
+
+SCENE III
+
+The room of the examining magistrate, who sits at a table talking to
+MELNIKOV, a smartly dressed, languid, man-about-town.
+
+At a side-table a CLERK is sorting papers.
+
+MAGISTRATE. (sitting R. of table R. C.). Oh, I never said so. It's her
+own notion. And now she is reproaching me with it.
+
+MELNIKOV. (sitting C. back to audience). She's not reproaching you,
+only her feelings are awfully hurt.
+
+MAGISTRATE. Are they? Oh, well, tell her I'll come to supper after the
+performance. But you'd better wait on. I've rather an interesting
+case. (To the CLERK.) Here, you, show them in.
+
+Clerk. (sitting C. facing audience). Both? Excellency. Magistrate. No,
+only Madame Karenina.
+
+     [CLERK exits L. I.
+
+CLERK (calling off stage). Madame Protosova, Madame Protosova.
+
+MAGISTRATE. Or, to dot my i's, Madame Protosova.
+
+MELNIKOV (starting to go out). Ah, it's the Karenin case.
+
+MAGISTRATE. Yes, and an ugly one. I'm just beginning the
+investigation. But I assure you it's a first-rate scandal already.
+Must you go? Well, see you at supper. Good-bye.
+
+     [Exit MELNIKOV, R.
+
+     [The CLERK shows in LISA; she wears a black dress and veil.
+
+MAGISTRATE. Please sit down, won't you? (He points to a chair L. C.
+LISA sits down.) I am extremely sorry that it's necessary to ask you
+questions.
+
+     [LISA appears very much agitated. MAGISTRATE appears unconcerned
+      and is reading a newspaper as he speaks.
+
+But please be calm. You needn't answer them unless you wish. Only in
+the interest of every one concerned, I advise you to help me reach the
+entire truth.
+
+LISA. I've nothing to conceal.
+
+MAGISTRATE (looking at papers). Let's see. Your name, station,
+religion. I've got all that. You are accused of contracting a marriage
+with another man, knowing your first husband to be alive.
+
+LISA. But I did not know it.
+
+MAGISTRATE (continuing). And also you are accused of having persuaded
+with bribes your first husband to commit a fraud, a pretended suicide,
+in order to rid yourself of him.
+
+LISA. All that's not true.
+
+MAGISTRATE. Then permit me to ask you these questions: Did you or did
+you not send him 1200 rubles in July of last year?
+
+LISA. That was his own money obtained from selling his things, which I
+sent to him during our separation, while I was waiting for my divorce.
+
+MAGISTRATE. Just so. Very well. When the police asked you to identify
+the corpse, how were you sure it was your husband's?
+
+LISA. Oh, I was so terribly distressed that I couldn't bear to look at
+the body. Besides, I felt so sure it was he, and when they asked me, I
+just said yes.
+
+MAGISTRATE. Very good indeed. I can well understand your distraction,
+and permit me to observe, Madame, that although servants of the law,
+we remain human beings, and I beg you to be assured that I sympathize
+with your situation. You were bound to a spendthrift, a drunkard, a
+man whose dissipation caused you infinite misery.
+
+LISA (interrupting). Please, I loved him.
+
+MAGISTRATE (tolerantly). Of course. Yet naturally you desired to be
+free, and you took this simple course without counting the
+consequence, which is considered a crime, or bigamy. I understand you,
+and so will both judges and jury. And it's for this reason, Madam, I
+urge you to disclose the entire truth.
+
+LISA. I've nothing to disclose. I never have lied. (She begins to
+cry.) Do you want me any longer?
+
+MAGISTRATE. Yes. I must ask you to remain a few minutes longer. No
+more questions, however. (To the CLERK.) Show in Victor Karenin. (To
+LISA.) I think you'll find that a comfortable chair. (Sits L. C.)
+
+     [Enter KARENIN, stern and solemn.
+
+Please, sit down.
+
+KARENIN. Thank you. (He remains standing L. U.) What do you want from
+me?
+
+MAGISTRATE. I have to take your deposition.
+
+KARENIN. In what capacity?
+
+MAGISTRATE (smiling). In my capacity of investigating magistrate. You
+are here, you know, because you are charged with a crime.
+
+KARENIN. Really? What crime?
+
+MAGISTRATE. Bigamy, since you've married a woman already married. But
+I'll put the questions to you in their proper order. Sure you'll not
+sit down?
+
+KARENIN. Quite sure.
+
+MAGISTRATE (writing). Your name?
+
+KARENIN. Victor Karenin.
+
+MAGISTRATE. Rank?
+
+KARENIN. Chamberlain of the Imperial Court.
+
+MAGISTRATE. Your age?
+
+KARENIN. Thirty-eight.
+
+MAGISTRATE. Religion?
+
+KARENIN. Orthodox, and I've never been tried before of any charge.
+(Pause.) What else?
+
+MAGISTRATE. Did you know that Fedor Protosov was alive when you
+married his wife?
+
+KARENIN. No, we were both convinced that he was drowned.
+
+MAGISTRATE. All right. And why did you send 1200 rubles to him a few
+days before he simulated death on July 17th?
+
+KARENIN. That money was given me by my wife.
+
+MAGISTRATE (interrupting him). Excuse me, you mean by Madame
+Protosova.
+
+KARENIN. By my wife to send to her husband. She considered this money
+his property, and having broken off all relations with him, felt it
+unjust to withhold it. What else do you want?
+
+MAGISTRATE. I don't want anything, except to do my official duty, and
+to aid you in doing yours, through causing you to tell me the whole
+truth, in order that your innocence be proved. You'd certainly better
+not conceal things which are sure to be found out, since Protosov is
+in such a weakened condition, physically and mentally, that he is
+certain to come out with the entire truth as soon as he gets into
+court, so from your point of view I advise....
+
+KARENIN. Please don't advise me, but remain within the limits of your
+official capacity. Are we at liberty to leave?
+
+     [He goes to LISA who takes his arm.
+
+MAGISTRATE. Sorry, but it's necessary to detain you. (KARENIN looks
+around in astonishment.) No, I've no intention of arresting you,
+although it might be a quicker way of reaching the truth. I merely
+want to take Protosov's deposition in your presence, to confront him
+with you, that you may facilitate your chances by proving his
+statements to be false. Kindly sit down. (To CLERK.) Show in Fedor
+Protosov.
+
+     [There is a pause. The CLERK shows in FEDYA in rags, a total
+      wreck. He enters slowly, dragging his feet. He catches sight of
+      his wife, who is bowed in grief. For a moment he is about to
+      take her in his arms--he hesitates--then stands before the
+      MAGISTRATE.
+
+MAGISTRATE. I shall ask you to answer some questions.
+
+FEDYA. (rises, confronting the MAGISTRATE). Ask them.
+
+MAGISTRATE. Your name?
+
+FEDYA. You know it.
+
+MAGISTRATE. Answer my questions exactly, please.
+
+     [Rapping on his desk.
+
+FEDYA (shrugs). Fedor Protosov.
+
+MAGISTRATE. Your rank, age, religion?
+
+FEDYA. (silent for a moment). Aren't you ashamed to ask me these
+absurd questions? Ask me what you need to know, only that.
+
+MAGISTRATE. I shall ask you to take care how you express yourself.
+
+FEDYA. Well, since you're not ashamed. My rank, graduate of the
+University of Moscow; age 40; religion orthodox. What else?
+
+MAGISTRATE. Did Victor Karenin and Elizaveta Andreyevna know you were
+alive when you left your clothes on the bank of the river and
+disappeared?
+
+FEDYA. Of course not. I really wished to commit suicide. But--
+however, why should I tell you? The fact's enough. They knew nothing
+of it.
+
+MAGISTRATE. You gave a somewhat different account to the police
+officer. How do you explain that?
+
+FEDYA. Which police officer? Oh yes, the one who arrested me in that
+dive. I was drunk, and I lied to him--about what, I don't remember.
+But I'm not drunk now and I'm telling you the whole truth. They knew
+nothing; they thought I was dead, and I was glad of it. Everything
+would have stayed all right except for that damned beast Artimiev. So
+if any one's guilty, it's I.
+
+MAGISTRATE. I perceive you wish to be generous. Unfortunately the law
+demands the truth. Come, why did you receive money from them?
+
+     [FEDYA is silent.
+
+Why don't you answer me? Do you realize that it will be stated in your
+deposition that the accused refused to answer these questions, and
+that will harm (he includes LISA and VICTOR in a gesture) all of you?
+
+     [FEDYA remains silent.
+
+Aren't you ashamed of your stubborn refusal to aid these others and
+yourself by telling the entire truth?
+
+FEDYA (breaking out passionately). The truth--Oh, God! what do you
+know about the truth? Your business is crawling up into a little
+power, that you may use it by tantalizing, morally and physically,
+people a thousand times better than you.... You sit there in your smug
+authority torturing people.
+
+MAGISTRATE. I must ask you----
+
+FEDYA (interrupts him). Don't ask me for I'll speak as I feel.
+(Turning to CLERK.) And you write it down. So for once some human
+words will get into a deposition.
+
+     [Raising his voice, which ascends to a climax during this speech.
+
+There were three human beings alive: I, he, and she.
+
+     [He turns to his wife with a gesture indicating his love for her.
+      He pauses, then proceeds.
+
+We all bore towards one another a most complex relation. We were all
+engaged in a spiritual struggle beyond your comprehension: the
+struggle between anguish and peace; between falsehood and truth.
+Suddenly this struggle ended in a way that set us free. Everybody was
+at peace. They loved my memory, and I was happy even in my downfall,
+because I'd done what should have been done, and cleared away my weak
+life from interfering with their strong good lives. And yet we're all
+alive. When suddenly a bastard adventurer appears, who demands that I
+abet his filthy scheme. I drive him off as I would a diseased dog, but
+he finds you, the defender of public justice, the appointed guardian
+of morality, to listen to him. And you, who receive on the 20th of
+each month a few kopeks' gratuity for your wretched business, you get
+into your uniform, and in good spirits proceed to torture--bully
+people whose threshold you're not clean enough to pass. Then when
+you've had your fill of showing off your wretched power, oh, then you
+are satisfied, and sit and smile there in your damned complacent
+dignity. And....
+
+MAGISTRATE (raising his voice. Rising excitedly). Be silent or I'll
+have you turned out.
+
+FEDYA. God! Who should I be afraid of! I'm dead, dead, and away out of
+your power. (Suddenly overcome with the horror of the situation.) What
+can you do to me? How can you punish me--a corpse?
+
+     [Beating his breast.
+
+MAGISTRATE. Be silent! (To CLERK, who is down L.) Take him out!
+
+     [FEDYA turns, seeing his wife, he falls on his knees before
+      her ... kisses the hem of her dress, crying bitterly.
+
+     [Slowly he rises, pulls himself together with a great effort,
+      then exits L.
+
+     [The lights dim and out.
+
+CURTAIN
+
+
+
+SCENE IV
+
+A corridor at the lower courts; in the background a door opposite
+which stands a GUARD; to the right is another door through which the
+PRISONERS are conducted to the court. IVAN PETROVICH in rags enters
+L., goes to this last door, trying to pass through it.
+
+GUARD (at door R. C.). Where do you think you're going, shoving in
+like that?
+
+IVAN PETROVICH. Why shouldn't I? The law says these sessions are
+public.
+
+GUARD. You can't get by and that's enough.
+
+IVAN PETROVICH (in pity). Wretched peasant, you have no idea to whom
+you are speaking.
+
+GUARD. Be silent!
+
+     [Enter a YOUNG LAWYER from R. I.
+
+LAWYER (to Petrovich). Are you here on business?
+
+IVAN PETROVICH. No. I'm the public. But this wretched peasant won't
+let me pass.
+
+LAWYER. There's no room for the public at this trial.
+
+IVAN PETROVICH. Perhaps, but I am above the general rule.
+
+LAWYER. Well, you wait outside; they'll adjourn presently.
+
+     [He is just going into courtroom through door R. C. when PRINCE
+      SERGIUS enters L. and stops him.
+
+PRINCE SERGIUS. How does the case stand?
+
+LAWYER. The defense has just begun. Petrushin is speaking now.
+
+PRINCE SERGIUS. Are the Karenins bearing up well?
+
+LAWYER. Yes, with extraordinary dignity. They look as if they were the
+judges instead of the accused. That's felt all the way through, and
+PETRUSHIN is taking advantage of it.
+
+PRINCE SERGIUS. What of Protosov?
+
+LAWYER. He's frightfully unnerved, trembling all over, but that's
+natural considering the sort of life he's led. Yes, he's all on edge,
+and he's interrupted, both judge and jury several times already.
+
+PRINCE SERGIUS. How do you think it will end?
+
+LAWYER. Hard to say. The jury are mixed. At any rate I don't think
+they'll find the Karenins guilty of premeditation. Do you want to go
+in?
+
+PRINCE SERGIUS. I should very much like to.
+
+LAWYER. Excuse me, you're Prince Sergius Abreskov, aren't you? (To the
+Prince.) There's an empty chair just at the left.
+
+     [The guard lets PRINCE SERGIUS pass.
+
+IVAN PETROVICH. Prince! Bah! I am an aristocrat of the soul, and
+that's a higher title.
+
+LAWYER. Excuse me.
+
+     [And exits down R. C. into courtroom.
+
+     [PETUSHKOV, FEDYA'S companion in the dive, enters approaching
+      IVAN PETROVICH.
+
+PETUSHKOV (R.). Oh, there you are. Well, how're things going?
+
+IVAN PETROVICH (L.). The speeches for the defense have begun, but this
+ignorant rascal won't let us in. Curse his damned petty soul.
+
+GUARD (C.) Silence! Where do you think you are?
+
+     [Further applause is heard; door of the court opens, and there is
+      a rush of lawyers and the general public into the corridor.
+
+A LADY. Oh, it's simply wonderful! When he spoke I felt as if my heart
+were breaking.
+
+AN OFFICER. It's all far better than a novel. But I don't see how she
+could ever have loved him. Such a sinister, horrible figure.
+
+     [The other door opens over L.; the accused comes out.
+
+THE LADY (this group is down R.). Hush! There he is. See how wild he
+looks.
+
+FEDYA (seeing IVAN PETROVICH). Did you bring it?
+
+     [Goes to PETROVICH.
+
+PETROVICH. There.
+
+     [He hands FEDYA something; FEDYA hides it in his pocket.
+
+FEDYA (seeing PETUSHKOV). How foolish! How vulgar and how boring all
+this is, isn't it?
+
+     [Men and women enter door L. and stand down L. watching.
+
+     [Enter PETRUSHIN, from R. C., FEDYA'S counsel, a stout man with
+      red cheeks; very animated.
+
+PETRUSHIN (rubbing his hands). Well, well, my friend. It's going along
+splendidly. Only remember, don't go and spoil things for me in your
+last speech.
+
+FEDYA (takes him by the arm). Tell me, what'll the worst be?
+
+PETRUSHIN. I've already told you. Exile to Siberia.
+
+FEDYA. Who'll be exiled to Siberia?
+
+PETRUSHIN. You and your wife, naturally.
+
+FEDYA. And at the best?
+
+PETRUSHIN. Religious pardon and the annulment of the second marriage.
+
+FEDYA. You mean--that we should be bound again--to one another----
+
+PETRUSHIN. Yes. Only try to collect yourself. Keep up your courage.
+After all, there's no occasion for alarm.
+
+FEDYA. There couldn't be any other sentence, you're sure?
+
+PETRUSHIN. None other. None other.
+
+     [Exits R. I. FEDYA stands motionless.
+
+GUARD (crosses and exits L. I. Calling). Pass on. Pass on. No
+loitering in the corridor.
+
+     [VICTOR and LISA enter from door L. Start to go off L. when pistol
+      shot stops them.
+
+FEDYA (He turns his back to the audience, and from beneath his ragged
+coat shoots himself in the heart. There is a muffled explosion, smoke.
+He crumples up in a heap on the floor. All the people in the passage
+rush to him.) (In a very low voice.) This time--it's well done...
+Lisa....
+
+     [People are crowding in from all the doors, judges, etc. LISA
+      rushes to FEDYA, KARENIN, IVAN PETROVICH and PRINCE SERGIUS
+      follow.
+
+LISA. Fedya!... Fedya!... What have you done? Oh why!... why!...
+
+FEDYA. Forgive me---- No other way---- Not for you--but for myself----
+
+LISA. You will live. You must live.
+
+FEDYA. No--no---- Good-bye---- (He seems to smile, then he mutters
+just under his breath.) Masha.
+
+     [In the distance the gypsies are heard singing "No More at
+      Evening." They sing until the curtain.
+
+You're too late----
+
+     [Suddenly he raises his head from LISA'S knees, and barely utters
+      as if he saw something in front of him.
+
+Ah.... Happiness!...
+
+     [His head falls from LISA'S knees to the ground. She still clings
+      to it, in grief and horror. He dies.
+
+     [The lights dim and out.
+
+CURTAIN
+
+END OF _REDEMPTION_
+
+*       *       *       *       *
+
+THE POWER OF DARKNESS
+
+OR
+
+IF A CLAW IS CAUGHT THE BIRD IS LOST
+
+
+
+
+CHARACTERS
+
+PETER IGNATITCH. A well-to-do peasant, 42 years old, married for the
+second time, and sickly.
+
+ANISYA. His wife, 32 years old, fond of dress.
+
+AKOULINA. Peter's daughter by his first marriage, 16 years old, hard
+of hearing, mentally undeveloped.
+
+NAN (ANNA PETROVNA). His daughter by his second marriage, 10 years old
+
+NIKITA. Their laborer, 25 years old, fond of dress.
+
+AKIM. Nikita's father, 50 years old, a plain-looking, God-fearing
+peasant.
+
+MATRYONA. His wife and Nikita's mother, 50 years old.
+
+MARINA An orphan girl, 22 years old.
+
+MARTHA. Peter's sister.
+
+MITRITCH An old laborer, ex-soldier.
+
+SIMON. Marina's husband.
+
+BRIDEGROOM. Engaged to Akoulina.
+
+IVAN. His father.
+
+A NEIGHBOR.
+
+FIRST GIRL.
+
+SECOND GIRL.
+
+POLICE OFFICER.
+
+DRIVER.
+
+BEST MAN
+
+MATCHMAKER.
+
+VILLAGE ELDER.
+
+VISITORS, WOMEN, GIRLS, AND PEOPLE come to see the wedding
+
+N.B.--The "oven" mentioned is the usual large, brick, Russian
+baking-oven. The top of it outside is flat, so that more than one
+person can lie on it.
+
+
+
+
+ACT I
+
+The Act takes place in autumn in a large village. The Scene represents
+PETER'S roomy hut. PETER is sitting on a wooden bench, mending a
+horse-collar. ANISYA and AKOULINA are spinning, and singing a
+part-song.
+
+PETER (looking out of the window). The horses have got loose again. If
+we don't look out they'll be killing the colt. Nikita! Hey, Nikita! Is
+the fellow deaf? (Listens. To the women.) Shut up, one can't hear
+anything.
+
+NIKITA (from outside). What?
+
+PETER. Drive the horses in.
+
+NIKITA. We'll drive 'em in. All in good time.
+
+PETER (shaking his head). Ah, these laborers! If I were well, I'd not
+keep one on no account. There's nothing but bother with 'em. (Rises
+and sits down again.) Nikita!.... It's no good shouting. One of you'd
+better go. Go, Akoul, drive 'em in.
+
+AKOULINA. What? The horses?
+
+PETER. What else?
+
+AKOULINA. All right.
+
+     [Exit.
+
+PETER. Ah, but he's a loafer, that lad ... no good at all. Won't stir
+a finger if he can help it.
+
+ANISYA. You're so mighty brisk yourself. When you're not sprawling on
+the top of the oven you're squatting on the bench. To goad others to
+work is all you're fit for.
+
+PETER. If one weren't to goad you on a bit, one'd have no roof left
+over one's head before the year's out. Oh, what people!
+
+ANISYA. You go shoving a dozen jobs on to one's shoulders, and then do
+nothing but scold. It's easy to lie on the oven and give orders.
+
+PETER (sighing). Oh, if 'twere not for this sickness that's got hold
+of me, I'd not keep him on another day.
+
+AKOULINA (off the scene). Gee up, gee, woo.
+
+     [A colt neighs, the stamping of horses' feet and the creaking of
+      the gate are heard.
+
+PETER. Bragging, that's what he's good at. I'd like to sack him, I
+would indeed.
+
+ANISYA (mimicking him). "Like to sack him." You buckle to yourself,
+and then talk.
+
+AKOULINA (enters). It's all I could do to drive 'em in. That piebald
+always will....
+
+PETER. And where's Nikita?
+
+AKOULINA. Where's Nikita? Why, standing out there in the street.
+
+PETER. What's he standing there for?
+
+AKOULINA. What's he standing there for? He stands there jabbering.
+
+PETER. One can't get any sense out of her! Who's he jabbering with?
+
+AKOULINA (does not hear). Eh, what?
+
+     [PETER waves her off. She sits down to her spinning.
+
+NAN (running in to her mother). Nikita's father and mother have come.
+They're going to take him away. It's true!
+
+ANISYA. Nonsense!
+
+NAN. Yes. Blest if they're not! (Laughing.) I was just going by, and
+Nikita, he says, "Good-bye, Anna Petrovna," he says, "you must come
+and dance at my wedding. I'm leaving you," he says, and laughs.
+
+ANISYA (to her husband). There now. Much he cares. You see, he wants
+to leave of himself. "Sack him" indeed!
+
+PETER. Well, let him go. Just as if I couldn't find somebody else.
+
+ANISYA. And what about the money he's had in advance?
+
+     [NAN stands listening at the door for awhile, and then exit.
+
+PETER (frowning). The money? Well, he can work it off in summer,
+anyhow.
+
+ANISYA. Well, of course you'll be glad if he goes and you've not got
+to feed him. It's only me as'll have to work like a horse all the
+winter. That lass of yours isn't over fond of work either. And you'll
+be lying up on the oven. I know you.
+
+PETER. What's the good of wearing out one's tongue before one has the
+hang of the matter?
+
+ANISYA. The yard's full of cattle. You've not sold the cow, and have
+kept all the sheep for the winter: feeding and watering 'em alone
+takes all one's time, and you want to sack the laborer. But I tell you
+straight, I'm not going to do a man's work! I'll go and lie on the top
+of the oven same as you, and let everything go to pot! You may do what
+you like.
+
+PETER (to Akoulina). Go and see about the feeding, will you? it's
+time.
+
+AKOULINA. The feeding? All right.
+
+     [Puts on a coat and takes a rope.
+
+ANISYA. I'm not going to work for you. You go and work yourself. I've
+had enough of it, so there!
+
+PETER. That'll do. What are you raving about? Like a sheep with the
+staggers!
+
+ANISYA. You're a crazy cur, you are! One gets neither work nor
+pleasure from you. Eating your fill, that's all you do; you palsied
+cur, you!
+
+PETER (spits and puts on coat). Faugh! The Lord have mercy! I'd better
+go myself and see what's up.
+
+     [Exit.
+
+ANISYA (after him). Scurvy long-nosed devil!
+
+AKOULINA. What are you swearing at dad for?
+
+ANISYA. Hold your noise, you idiot!
+
+AKOULINA (going to the door). I know why you're swearing at him.
+You're an idiot yourself, you bitch. I'm not afraid of you.
+
+ANISYA. What do you mean? (Jumps up and looks round for something to
+hit her with.) Mind, or I'll give you one with the poker.
+
+AKOULINA (opening the door). Bitch! devil! that's what you are! Devil!
+bitch! bitch! devil!
+
+     [Runs off.
+
+ANISYA (ponders). "Come and dance at my wedding!" What new plan is
+this? Marry? Mind. Nikita, if that's your intention, I'll go and....
+No, I can't live without him. I won't let him go.
+
+NIKITA (enters, looks round, and, seeing Anisya alone, approaches
+quickly. In a low tone). Here's a go; I'm in a regular fix! That
+governor of mine wants to take me away,--tells me I'm to come home.
+Says quite straight I'm to marry and live at home.
+
+ANISYA. Well, go and marry! What's that to me?
+
+NIKITA. Is that it? Why, here am I reckoning how best to consider
+matters, and just hear her! She tells me to go and marry. Why's that?
+(Winking.) Has she forgotten?
+
+ANISYA. Yes, go and marry! What do I care?
+
+NIKITA. What are you spitting for? Just see, she won't even let me
+stroke her.... What's the matter?
+
+ANISYA. This! That you want to play me false.... If you do,--why, I
+don't want you either. So now you know!
+
+NIKITA. That'll do, Anisya. Do you think I'll forget you? Never while
+I live! I'll not play you false, that's flat. I've been thinking that
+supposing they do go and make me marry, I'd still come back to you. If
+only he don't make me live at home.
+
+ANISYA. Much need I'll have of you, once you're married.
+
+NIKITA. There's a go now. How is it possible to go against one's
+father's will?
+
+ANISYA. Yes, I daresay, shove it all on your father. You know it's
+your own doing. You've long been plotting with that slut of yours,
+MARINA. It's she has put you up to it. She didn't come here for
+nothing t'other day.
+
+NIKITA. Marina? What's she to me? Much I care about her!... Plenty of
+them buzzing around.
+
+ANISYA. Then what has made your father come here? It's you have told
+him to. You've gone and deceived me.
+
+     [Cries.
+
+NIKITA. Anisya, do you believe in a God or not? I never so much as
+dreamt of it. I know nothing at all about it. I never even dreamt of
+it--that's flat. My old dad has got it all out of his own pate.
+
+ANISYA. If you don't wish it yourself who can force you? He can't
+drive you like an ass.
+
+NIKITA. Well, I reckon it's not possible to go against one's parent.
+But it's not by my wish.
+
+ANISYA. Don't you budge, that's all about it!
+
+NIKITA. There was a fellow wouldn't budge, and the village elder gave
+him such a hiding.... That's what it might come to! I've no great wish
+for that sort of thing. They say it touches one up....
+
+ANISYA. Shut up with your nonsense. Nikita, listen to me: if you marry
+that Marina I don't know what I won't do to myself.... I shall lay
+hands on myself! I have sinned, I have gone against the law, but I
+can't go back now. If you go away I'll....
+
+NIKITA. Why should I go? Had I wanted to go--I should have gone long
+ago. There was Ivan Semyonitch t'other day--offered me a place as his
+coachman.... Only fancy what a life that would have been! But I did
+not go. Because, I reckon, I am good enough for any one. Now if you
+did not love me it would be a different matter.
+
+ANISYA. Yes, and that's what you should remember. My old man will die
+one of these fine days, I'm thinking; then we could cover our sin,
+make it all right and lawful, and then you'll be master here.
+
+NIKITA. Where's the good of making plans? What do I care? I work as
+hard as if I were doing it for myself. My master loves me, and his
+missus loves me. And if the wenches run after me, it's not my fault,
+that's flat.
+
+ANISYA. And you'll love me?
+
+NIKITA (embracing her). There, as you have ever been in my heart....
+
+MATRYONA (enters and crosses herself a long time before the icon.
+NIKITA and ANISYA step apart). What I saw I didn't perceive, what I
+heard, I didn't hearken to. Playing with the lass, eh? Well,--even a
+calf will play. Why shouldn't one have some fun when one's young? But
+your master is out in the yard a-calling you, sonny.
+
+NIKITA. I only came to get the axe.
+
+MATRYONA. I know, sonny, I know; them sort of axes are mostly to be
+found where the women are.
+
+NIKITA (stooping to pick up axe). I say, mother, is it true you want
+me to marry? As I reckon, that's quite unnecessary. Besides, I've got
+no wish that way.
+
+MATRYONA. Eh, honey! why should you marry? Go on as you are. It's all
+the old man. You'd better go, sonny; we can talk these matters over
+without you.
+
+NIKITA. It's a queer go! One moment I'm to be married, the next, not.
+I can't make head or tail of it.
+
+     [Exit.
+
+ANISYA. What's it all about, then? Do you really wish him to get
+married?
+
+MATRYONA. Eh, why should he marry, my jewel? It's all nonsense, all my
+old man's drivel. "Marry, marry." But he's reckoning without his host.
+You know the saying, "From oats and hay, why should horses stray?"
+When you've enough to spare, why look elsewhere? And so in this case.
+(Winks.) Don't I see which way the wind blows?
+
+ANISYA. Where's the good of my pretending to you, Mother Matryona? You
+know all about it. I have sinned. I love your son.
+
+MATRYONA. Dear me, here's news! D'you think Mother Matryona didn't
+know? Eh, lassie,--Mother Matryona's been ground, and ground again,
+ground fine! This much I can tell you, my jewel: Mother Matryona can
+see through a brick wall three feet thick. I know it all, my jewel! I
+know what young wives need sleeping draughts for, so I've brought some
+along.
+
+     [Unties a knot in her handkerchief and brings out paper-packets.
+
+As much as is wanted, I see, and what's not wanted I neither see nor
+perceive! There! Mother Matryona has also been young. I had to know a
+thing or two to live with my old fool. I know seventy-and-seven
+dodges. But I see your old man's quite seedy, quite seedy! How's one
+to live with such as him? Why, if you pricked him with a hayfork it
+wouldn't fetch blood. See if you don't bury him before the spring.
+Then you'll need some one in the house. Well, what's wrong with my
+son? He'll do as well as another. Then where's the advantage of my
+taking him away from a good place? Am I my child's enemy?
+
+ANISYA. Oh, if only he does not go away!
+
+MATRYONA. He won't go away, birdie. It's all nonsense. You know my old
+man. His wits are always wool-gathering; yet sometimes he takes a
+thing into his pate, and it's as if it were wedged in, you can't knock
+it out with a hammer.
+
+ANISYA. And what started this business?
+
+MATRYONA. Well, you see, my jewel, you yourself know what a fellow
+with women the lad is,--and he's handsome too, though I say it as
+shouldn't. Well, you know, he was living at the railway, and they had
+an orphan wench there to cook for them. Well, that same wench took to
+running after him.
+
+ANISYA. Marina?
+
+MATRYONA. Yes, the plague seize her! Whether anything happened or not,
+anyhow something got to my old man's ears. Maybe he heard from the
+neighbors, maybe she's been and blabbed....
+
+ANISYA. Well, she is a bold hussy!
+
+MATRYONA. So my old man--the old blockhead--off he goes: "Marry,
+marry," he says, "he must marry her and cover the sin," he says. "We
+must take the lad home," he says, "and he shall marry," he says. Well,
+I did my best to make him change his mind, but, dear me, no. So, all
+right, thinks I,--I'll try another dodge. One always has to entice
+them fools in this way, just pretend to be of their mind, and when it
+comes to the point one goes and turns it all one's own way. You know,
+a woman has time to think seventy-and-seven thoughts while falling off
+the oven, so how's such as he to see through it? "Well, yes," says I,
+"it would be a good job,--only we must consider well beforehand. Why
+not go and see our son, and talk it over with Peter Ignatitch and hear
+what he has to say?" So here we are.
+
+ANISYA. Oh dear, oh dear, how will it all end? Supposing his father
+just orders him to marry her?
+
+MATRYONA. Orders, indeed! Chuck his orders to the dogs! Don't you
+worry; that affair will never come off. I'll go to your old man
+myself, and sift and strain this matter clear--there will be none of
+it left. I have come here only for the look of the thing. A very
+likely thing! Here's my son living in happiness and expecting
+happiness, and I'll go and match him with a slut! No fear, I'm not a
+fool!
+
+ANISYA. And she--this Marina--came dangling after him here! Mother,
+would you believe, when they said he was going to marry, it was as if
+a knife had gone right through my heart. I thought he cared for her.
+
+MATRYONA. Oh, my jewel! Why, you don't think him such a fool, that he
+should go and care for a homeless baggage like that? Nikita is a
+sensible fellow, you see. He knows whom to love. So don't you go and
+fret, my jewel. We'll not take him away, and we won't marry him. No,
+we'll let him stay on, if you'll only oblige us with a little money.
+
+ANISYA. All I know is, that I could not live if Nikita went away.
+
+MATRYONA. Naturally, when one's young it's no easy matter! You, a
+wench in full bloom, to be living with the dregs of a man like that
+husband of yours.
+
+ANISYA. Mother Matryona, would you believe it? I'm that sick of him,
+that sick of this long-nosed cur of mine, I can hardly bear to look at
+him.
+
+MATRYONA. Yes, I see, it's one of them cases. Just look here. (Looks
+round and whispers.) I've been to see that old man, you know he's
+given me simples of two kinds. This, you see, is a sleeping draught.
+"Just give him one of these powders," he says, "and he'll sleep so
+sound you might jump on him!" And this here, "This is that kind of
+simple," he says, "that if you give one some of it to drink it has no
+smell whatever, but its strength is very great. There are seven doses
+here, a pinch at a time. Give him seven pinches," he says, "and she
+won't have far to look for freedom," he says.
+
+ANISYA. O-o-oh! What's that?
+
+MATRYONA. "No sign whatever," he says. He's taken a rouble for it.
+"Can't sell it for less," he says. Because it's no easy matter to get
+'em, you know. I paid him, dearie, out of my own money. If she takes
+them, thinks I, it's all right; if she don't, I can let old Michael's
+daughter have them.
+
+ANISYA. O-o-oh! But mayn't some evil come of them? I'm frightened!
+
+MATRYONA. What evil, my jewel? If your old man was hale and hearty,
+'twould be a different matter, but he's neither alive nor dead as it
+is. He's not for this world. Such things often happen.
+
+ANISYA. O-o-oh, my poor head! I'm afeared, Mother Matryona, lest some
+evil come of them. No. That won't do.
+
+MATRYONA. Just as you like. I might even return them to him.
+
+ANISYA. And are they to be used in the same way as the others? Mixed
+in water?
+
+MATRYONA. Better in tea, he says. "You can't notice anything," he says,
+"no smell nor nothing." He's a cute old fellow, too.
+
+ANISYA (taking the powder). O-oh, my poor head! Could I have ever
+thought of such a thing if my life were not a very hell?
+
+MATRYONA. You'll not forget that rouble? I promised to take it to the
+old man. He's had some trouble, too.
+
+ANISYA. Of course?
+
+     [Goes to her box and hides the powders.
+
+MATRYONA. And now, my jewel, keep it as close as you can, so that no
+one should find it out. Heaven defend that it should happen, but if
+any one notices it, tell 'em it's for the black-beetles. (Takes the
+rouble.) It's also used for beetles. (Stops short.)
+
+     [Enter AKIM, who crosses himself in front of the icon, and then
+      PETER, who sits down.
+
+PETER. Well, then, how's it to be, Daddy Akim?
+
+AKIM. As it's best, Peter Ignatitch, as it's best.... I mean--as it's
+best. 'Cos why? I'm afeared of what d'you call 'ems, some tomfoolery,
+you know. I'd like to, what d'you call it.... to start, you know,
+start the lad honest, I mean. But supposing you'd rather, what d'you
+call it, we might, I mean, what's name? As it's best....
+
+PETER. All right. All right. Sit down and let's talk it over. (Akim
+sits down.) Well, then, what's it all about? You want him to marry?
+
+MATRYONA. As to marrying, he might bide a while, Peter Ignatitch. You
+know our poverty, Peter Ignatitch. What's he to marry on? We've hardly
+enough to eat ourselves. How can he marry then?...
+
+PETER. You must consider what will be best.
+
+MATRYONA. Where's the hurry for him to get married? Marriage is not
+that sort of thing, it's not like ripe raspberries that drop off if
+not picked in time.
+
+PETER. If he were to get married, 'twould be a good thing in a way.
+
+AKIM. We'd like to ... what d'you call it? 'Cos why, you see. I've
+what d'you call it ... a job. I mean, I've found a paying job in town,
+you know.
+
+MATRYONA. And a fine job too--cleaning out cesspools. The other day
+when he came home, I could do nothing but spew and spew. Faugh!
+
+AKIM. It's true, at first it does seem what d'you call it ... "knocks
+one clean over," you know,--the smell, I mean. But one gets used to
+it, and then it's nothing, no worse than malt grain, and then it's,
+what d'you call it, ... pays, pays, I mean. And as to the smell being,
+what d'you call it, it's not for the likes of us to complain. And one
+changes one's clothes. So we'd like to take what's his name ...
+NIKITA, I mean, home. Let him manage things at home while I, what
+d'you call it,--earn something in town.
+
+PETER. You want to keep your son at home? Yes, that would be well: but
+how about the money he has had in advance?
+
+AKIM. That's it, that's it! It's just as you Say, Ignatitch, it's just
+what d'you call it. 'Cos why? If you go into service, it's as good as
+if you had sold yourself, they say. That will be all right. I mean he
+may stay and serve his time, only he must, what d'you call it, get
+married. I mean--so: you let him off for a little while, that he may,
+what d'you call it?
+
+PETER. Yes, we could manage that.
+
+MATRYONA. Ah, but it's not yet settled between ourselves, Peter
+Ignatitch. I'll speak to you as I would before God, and you may judge
+between my old man and me. He goes on harping on that marriage. But
+just ask--who it is he wants him to marry. If it were a girl of the
+right sort now--I am not my child's enemy, but the wench is not
+honest.
+
+AKIM. No, that's wrong! Wrong, I say. 'Cos why? She, that same girl--
+it's my son as has offended, offended the girl I mean.
+
+PETER. How offended?
+
+AKIM. That's how. She's what d'you call it, with him, with my son,
+NIKITA. With Nikita, what d'you call it, mean.
+
+MATRYONA. You wait a bit, my tongue runs smoother--let me tell it. You
+know, this lad of ours lived at the railway before he came to you.
+There was a girl there as kept dangling after him. A girl of no
+account, you know; her name's Marina. She used to cook for the men. So
+now this same girl accuses our son, Nikita, that he, so to say,
+deceived her.
+
+PETER. Well, there's nothing good in that.
+
+MATRYONA. But she's no honest girl herself; she runs after the fellows
+like a common slut.
+
+AKIM. There you are again, old woman, and it's not at all what d'you
+call it, it's all not what d'you call it, I mean....
+
+MATRYONA. There now, that's all the sense one gets from my old owl--
+"what d'you call it, what d'you call it," and he doesn't know himself
+what he means. Peter Ignatitch, don't listen to me, but go yourself
+and ask any one you like about the girl, everybody will say the same.
+She's just a homeless good-for-nothing.
+
+PETER. You know, Daddy Akim, if that's how things are, there's no
+reason for him to marry her. A daughter-in-law's not like a shoe, you
+can't kick her off.
+
+AKIM (excitedly). It's false, old woman, it's what d'you call it,
+false; I mean, about the girl; false! 'Cos why? The lass is a good
+lass, a very good lass, you know. I'm sorry, sorry for the lassie, I
+mean.
+
+MATRYONA. It's an old saying: "For the wide world old Miriam grieves,
+and at home without bread her children she leaves." He's sorry for the
+girl, but not sorry for his own son! Sling her round your neck and
+carry her about with you! That's enough of such empty cackle!
+
+AKIM. No, it's not empty.
+
+MATRYONA. There, don't interrupt, let me have my say.
+
+AKIM (interrupts). No, not empty! I mean, you twist things your own
+way, about the lass or about yourself. Twist them, I mean, to make it
+better for yourself; but God, what d'you call it, turns them His way.
+That's how it is.
+
+MATRYONA. Eh! One only wears out one's tongue with you.
+
+AKIM. The lass is hard-working and spruce, and keeps everything round
+herself ... what d'you call it. And in our poverty, you know, it's a
+pair of hands, I mean; and the wedding needn't cost much. But the
+chief thing's the offence, the offence to the lass, and she's a what
+d'you call it, an orphan, you know; that's what she is, and there's
+the offence.
+
+MATRYONA. Eh! they'll all tell you a tale of that sort....
+
+ANISYA. Daddy Akim, you'd better listen to us women; we can tell you a
+thing or two.
+
+AKIM. And God, how about God? Isn't she a human being, the lass? A
+what d'you call it,--also a human being I mean, before God. And how do
+you look at it?
+
+MATRYONA. Eh! ... started off again?...
+
+PETER. Wait a bit, Daddy Akim. One can't believe all these girls say,
+either. The lad's alive, and not far away; send for him, and find out
+straight from him if it's true. He won't wish to lose his soul. Go and
+call the fellow, (Anisya rises) and tell him his father wants him.
+
+     [Exit ANISYA.
+
+MATRYONA. That's right, dear friend; you've cleared the way clean, as
+with water. Yes, let the lad speak for himself. Nowadays, you know,
+they'll not let you force a son to marry; one must first of all ask
+the lad. He'll never consent to marry her and disgrace himself, not
+for all the world. To my thinking, it's best he should go on living
+with you and serving you as his master. And we need not take him home
+for the summer either; we can hire a help. If you would only give us
+ten roubles now, we'll let him stay on. Peter. All in good time. First
+let us settle one thing before we start another. Akim. You see, Peter
+Ignatitch, I speak. 'Cos why? you know how it happens. We try to fix
+things up as seems best for ourselves, you know; and as to God, we
+what d'you call it, we forget Him. We think it's best so, turn it our
+own way, and lo! we've got into a fix, you know. We think it will be
+best, I mean; and lo! it turns out much worse--without God, I mean.
+
+PETER. Of course one must not forget God.
+
+AKIM. It turns out worse! But when it's the right way--God's way--it
+what d'you call it, it gives one joy; seems pleasant, I mean. So I
+reckon, you see, get him, the lad, I mean, get him to marry her, to
+keep him from sin, I mean, and let him what d'you call it at home, as
+it's lawful, I mean, while I go and get the job in town. The work is
+of the right sort--it's payin', I mean. And in God's sight it's what
+d'you call it--it's best, I mean. Ain't she an orphan? Here, for
+example, a year ago some fellows went and took timber from the
+steward,--thought they'd do the steward, you know. Yes, they did the
+steward, but they couldn't what d'you call it--do God, I mean. Well,
+and so....
+
+     [Enter NIKITA and NAN.
+
+NIKITA. You called me?
+
+     [Sits down and takes out his tobacco-pouch.
+
+PETER (in a low, reproachful voice). What are you thinking about--have
+you no manners? Your father is going to speak to you, and you sit down
+and fool about with tobacco. Come, get up!
+
+     [NIKITA rises, leans carelessly with his elbow on the table, and
+smiles.
+
+AKIM. It seems there's a complaint, you know, about you, Nikita--a
+complaint, I mean, a complaint.
+
+NIKITA. Who's been complaining?
+
+AKIM. Complaining? It's a maid, an orphan maid, complaining, I mean.
+It's her, you know--a complaint against you, from Marina, I mean.
+
+NIKITA (laughs). Well, that's a good one. What's the complaint? And
+who's told you--she herself?
+
+AKIM. It's I am asking you, and you must now, what d'you call it, give
+me an answer. Have you got mixed up with the lass, I mean--mixed up,
+you know?
+
+NIKITA. I don't know what you mean. What's up?
+
+AKIM. Foolin', I mean, what d'you call it? foolin'. Have you been
+foolin' with her, I mean?
+
+NIKITA. Never mind what's been! Of course one does have some fun with
+a cook now and then to while away the time. One plays the concertina
+and gets her to dance. What of that?
+
+PETER. Don't shuffle, Nikita, but answer your father straight out.
+
+AKIM (solemnly). You can hide it from men but not from God, Nikita.
+You, what d'you call it--think, I mean, and don't tell lies. She's an
+orphan; so, you see, any one is free to insult her. An orphan, you
+see. So you should say what's rightest.
+
+NIKITA. But what if I have nothing to say? I have told you everything
+--because there isn't anything to tell, that's flat! (Getting excited.)
+She can go and say anything about me, same as if she was speaking of
+one as is dead. Why don't she say anything about Fedka Mikishin?
+Besides, how's this, that one mayn't even have a bit of fun nowadays?
+And as for her, well, she's free to say anything she likes.
+
+AKIM. Ah, Nikita, mind! A lie will out. Did anything happen?
+
+NIKITA (aside). How he sticks to it; it's too bad. (To Akim.) I tell
+you, I know nothing more. There's been nothing between us. (Angrily.)
+By God! and may I never leave this spot (crosses himself) if I know
+anything about it. (Silence. Then still more excitedly.) Why! have you
+been thinking of getting me to marry her? What do you mean by it?--
+it's a confounded shame. Besides, nowadays you've got no such rights
+as to force a fellow to marry. That's plain enough. Besides, haven't I
+sworn I know nothing about it?
+
+MATRYONA (to her husband). There now, that's just like your silly
+pate, to believe all they tell you. He's gone and put the lad to shame
+all for nothing. The best thing is to let him live as he is living,
+with his master. His master will help us in our present need, and give
+us ten roubles, and when the time comes....
+
+PETER. Well, Daddy Akim, how's it to be?
+
+AKIM (looks at his son, clicking his tongue disapprovingly). Mind,
+Nikita, the tears of one that's been wronged never, what d'you call
+it--never fall beside the mark but always on, what's name--the head of
+the man as did the wrong. So mind, don't what d'you call it.
+
+NIKITA (sits down). What's there to mind? mind yourself.
+
+NAN (aside). I must run and tell mother.
+
+     [Exit.
+
+MATRYONA (to Peter). That's always the way with this old mumbler of
+mine, Peter Ignatitch. Once he's got anything wedged in his pate
+there's no knocking it out. We've gone and troubled you all for
+nothing. The lad can go on living as he has been. Keep him; he's your
+servant.
+
+PETER. Well, Daddy Akim, what do you say?
+
+AKIM. Why, the lad's his own master, if only he what d'you call it....
+I only wish that, what d'you call it, I mean.
+
+MATRYONA. You don't know yourself what you're jawing about. The lad
+himself has no wish to leave. Besides, what do we want with him at
+home? We can manage without him.
+
+PETER. Only one thing, Daddy Akim--if you are thinking of taking him
+back in summer, I don't want him here for the winter. If he is to stay
+at all, it must be for the whole year.
+
+MATRYONA. And it's for a year he'll bind himself. If we want help when
+the press of work comes, we can hire help, and the lad shall remain
+with you. Only give us ten roubles now....
+
+PETER. Well then, is it to be for another year?
+
+AKIM (sighing). Yes, it seems, it what d'you call it ... if it's so, I
+mean, it seems that it must be what d'you call it.
+
+MATRYONA. For a year, counting from St. Dimitry's day. We know you'll
+pay him fair wages. But give us ten roubles now. Help us out of our
+difficulties. (Gets up and bows to Peter.)
+
+     [Enter NAN and ANISYA. The latter sits down at one side.
+
+PETER. Well, if that's settled we might step across to the inn and
+have a drink. Come, Daddy Akim, what do you say to a glass of vodka?
+
+AKIM. No, I never drink that sort of thing.
+
+PETER. Well, you'll have some tea?
+
+AKIM. Ah, tea! yes, I do sin that way. Yes, tea's the thing.
+
+PETER. And the women will also have some tea. Come. And you, Nikita,
+go and drive the sheep in and clear away the straw.
+
+NIKITA. All right. (Exeunt all but NIKITA. NIKITA lights a cigarette.
+It grows darker.) Just see how they bother one. Want a fellow to tell
+'em how he larks about with the wenches! It would take long to tell
+'em all those stories--"Marry her," he says. Marry them all! One would
+have a good lot of wives! And what need have I to marry? Am as good as
+married now! There's many a chap as envies me. Yet how strange it felt
+when I crossed myself before the icon. It was just as if some one
+shoved me. The whole web fell to pieces at once. They say it's
+frightening to swear what's not true. That's all humbug. It's all
+talk, that is. It's simple enough.
+
+AKOULINA (enters with a rope, which she puts down. She takes off her
+outdoor things and goes into closet). You might at least have got a
+light.
+
+NIKITA. What, to look at you? I can see you well enough without.
+
+AKOULINA. Oh, bother you!
+
+     [NAN enters and whispers to NIKITA.
+
+NAN. Nikita, there's a person wants you. There is!
+
+NIKITA. What person?
+
+NAN. Marina from the railway; she's out there, round the corner.
+
+NIKITA. Nonsense!
+
+NAN. Blest if she isn't! Nikita. What does she want?
+
+NAN. She wants you to come out. She says, "I only want to say a word
+to Nikita." I began asking, but she won't tell, but only says, "Is it
+true he's leaving you?" And I say, "No, only his father wanted to take
+him away and get him to marry, but he won't, and is going to stay with
+us another year." And she says, "For goodness' sake send him out to
+me. I must see him," she says, "I must say a word to him somehow."
+She's been waiting a long time. Why don't you go?
+
+NIKITA. Bother her! What should I go for?
+
+NAN. She says, "If he don't come, I'll go into the hut to him." Blest
+if she didn't say she'd come in!
+
+NIKITA. Not likely. She'll wait a bit and then go away.
+
+NAN. "Or is it," she says, "that they want him to marry Akoulina?"
+
+     [Re-enter AKOULINA, passing near NIKITA to take her distaff.
+
+AKOULINA. Marry whom to Akoulina?
+
+NAN. Why, Nikita. Akoulina. A likely thing! Who says it?
+
+NIKITA (looks at her and laughs). It seems people do say it. Would you
+marry me, Akoulina?
+
+AKOULINA. Who, you? Perhaps I might have afore, but I won't now.
+
+NIKITA. And why not now? Akoulina. 'Cos you wouldn't love me.
+
+NIKITA. Why not? Akoulina. 'Cos you'd be forbidden to.
+
+     [Laughs.
+
+NIKITA. Who'd forbid it?
+
+AKOULINA. Who? My step-mother. She does nothing but grumble, and is
+always staring at you.
+
+NIKITA (laughing). Just hear her! Ain't she cute?
+
+AKOULINA. Who? Me? What's there to be cute about? Am I blind? She's
+been rowing and rowing at dad all day. The fat-muzzled witch!
+
+     [Goes into closet.
+
+NAN (looking out of the window). Look, Nikita, she's coming! I'm blest
+if she isn't! I'll go away.
+
+     [Exit.
+
+MARINA (enters). What are you doing with me?
+
+NIKITA. Doing? I'm not doing anything.
+
+MARINA. You mean to desert me.
+
+NIKITA (gets up angrily). What does this look like, your coming here?
+
+MARINA. Oh, Nikita!
+
+NIKITA. Well, you are strange! What have you come for?
+
+MARINA. Nikita!
+
+NIKITA. That's my name. What do you want with Nikita? Well, what next?
+Go away, I tell you!
+
+MARINA. I see, you do want to throw me over.
+
+NIKITA. Well, and what's there to remember? You yourself don't know.
+When you stood out there round the corner and sent Nan for me, and I
+didn't come, wasn't it plain enough that you're not wanted? It seems
+pretty simple. So there--go!
+
+MARINA. Not wanted! So now I'm not wanted! I believed you when you
+said you would love me. And now that you've ruined me, I'm not wanted.
+
+NIKITA. Where's the good of talking? This is quite improper. You've
+been telling tales to father. Now, do go away, will you?
+
+MARINA. You know yourself I never loved any one but you. Whether you
+married me or not, I'd not have been angry. I've done you no wrong,
+then why have you left off caring for me? Why?
+
+NIKITA. Where's the use of baying at the moon? You go away. Goodness
+me! what a duffer!
+
+MARINA. It's not that you deceived me when you promised to marry me
+that hurts, but that you've left off loving. No, it's not that you've
+stopped loving me either, but that you've changed me for another,
+that's what hurts. I know who it is!
+
+NIKITA (comes up to her viciously). Eh! what's the good of talking to
+the likes of you, that won't listen to reason? Be off, or you'll drive
+me to do something you'll be sorry for.
+
+MARINA. What, will you strike me, then? Well then, strike me! What are
+you turning away for? Ah, Nikita!
+
+NIKITA. Supposing some one came in. Of course, it's quite improper.
+And what's the good of talking?
+
+MARINA. So this is the end of it! What has been has flown. You want me
+to forget it? Well then, Nikita, listen. I kept my maiden honor as the
+apple of my eye. You have ruined me for nothing, you have deceived me.
+You have no pity on a fatherless and motherless girl! (Weeping.) You
+have deserted, you have killed me, but I bear you no malice. God
+forgive you! If you find a better one you'll forget me, if a worse one
+you'll remember me. Yes, you will remember, Nikita! Good-bye, then, if
+it is to be. Oh, how I loved you! Good-bye for the last time.
+
+     [Takes his head in her hands and tries to kiss him.
+
+NIKITA (tossing his head back). I'm not going to talk with the likes
+of you. If you won't go away I will, and you may stay here by
+yourself.
+
+MARINA (screams). You are a brute. (In the doorway.) God will give you
+no joy.
+
+     [Exit, crying.
+
+AKOULINA (comes out of closet). You're a dog, Nikita!
+
+NIKITA. What's up?
+
+AKOULINA. What a cry she gave!
+
+     [Cries.
+
+NIKITA. What's up with you?
+
+AKOULINA. What's up? You've hurt her, ... That's the way you'll hurt
+me also. You're a dog.
+
+     [Exit into closet.
+
+     [Silence.
+
+NIKITA. Here's a fine muddle. I'm as sweet as honey on the lasses, but
+when a fellow's sinned with 'em it's a bad look-out!
+
+CURTAIN
+
+
+
+
+ACT II
+
+The scene represents the village street. To the left the outside of
+PETER'S hut, built of logs, with a porch in the middle; to the right
+of the hut the gates and a corner of the yard buildings. ANISYA is
+beating hemp in the street near the corner of the yard. Six months
+have elapsed since the First Act.
+
+ANISYA (stops and listens). Mumbling something again. He's probably
+got off the stove.
+
+     [AKOULINA enters, carrying two pails on a yoke.
+
+ANISYA. He's calling. You go and see what he wants, kicking up such a
+row.
+
+AKOULINA. Why don't you go?
+
+ANISYA. Go, I tell you!
+
+     [Exit AKOULINA into hut.
+
+He's bothering me to death. Won't let out where the money is, and
+that's all about it. He was out in the passage the other day. He must
+have been hiding it there. Now, I don't know myself where it is. Thank
+goodness he's afraid of parting with it, so that at least it will stay
+in the house. If only I could manage to find it. He hadn't it on him
+yesterday. Now I don't know where it can be. He has quite worn the
+life out of me.
+
+     [Enter AKOULINA, tying her kerchief over her head.
+
+ANISYA. Where are you off to?
+
+AKOULINA. Where? Why, he's told me to go for Aunt Martha. "Fetch my
+sister," he says. "I am going to die," he says. "I have a word to say
+to her."
+
+ANISYA (aside). Asking for his sister? Oh, my poor head! Sure he wants
+to give it her. What shall I do? Oh! (To AKOULINA.) Don't go! Where
+are you off to?
+
+AKOULINA. To call Aunt.
+
+ANISYA. Don't go I tell you, I'll go myself. You go and take the
+clothes to the river to rinse. Else you'll not have finished by the
+evening.
+
+AKOULINA. But he told me to go.
+
+ANISYA. You go and do as you're bid. I tell you I'll fetch Martha
+myself. Take the shirts off the fence.
+
+AKOULINA. The shirts? But maybe you'll not go. He's given the order.
+
+ANISYA. Didn't I say I'd go? Where's Nan?
+
+AKOULINA. Nan? Minding the calves.
+
+ANISYA. Send her here. I dare say they'll not run away.
+
+     [AKOULINA collects the clothes, and exit.
+
+ANISYA. If one doesn't go he'll scold. If one goes he'll give the
+money to his sister. All my trouble will be wasted. I don't myself
+know what I'm to do. My poor head's splitting.
+
+     [Continues to work.
+
+     [Enter MATRYONA, with a stick and a bundle, in outdoor clothes.
+
+MATRYONA. May the Lord help you, honey.
+
+ANISYA (looks round, stops working, and claps her hands with joy).
+Well, I never expected this! Mother Matryona, God has sent the right
+guest at the right time.
+
+MATRYONA. Well, how are things?
+
+ANISYA. Ah, I'm driven well-nigh crazy. It's awful!
+
+MATRYONA. Well, still alive, I hear?
+
+ANISYA. Oh, don't talk about it. He doesn't live and doesn't die!
+
+MATRYONA. But the money--has he given it to anybody?
+
+ANISYA. He's just sending for his sister Martha--probably about the
+money.
+
+MATRYONA. Well, naturally! But hasn't he given it to any one else?
+
+ANISYA. To no one. I watch like a hawk.
+
+MATRYONA. And where is it?
+
+ANISYA. He doesn't let out. And I can't find out in any way. He hides
+it now here, now there, and I can't do anything because of Akoulina.
+Idiot though she is, she keeps watch, and is always about. Oh my poor
+head! I'm bothered to death.
+
+MATRYONA. Oh, my jewel, if he gives the money to any one but you,
+you'll never cease regretting it as long as you live! They'll turn you
+out of house and home without anything. You've been worriting, and
+worriting all your life with one you don't love, and will have to go
+a-begging when you are a widow.
+
+ANISYA. No need to tell me, mother. My heart's that weary, and I don't
+know what to do. No one to get a bit of advice from. I told Nikita,
+but he's frightened of the job. The only thing he did was to tell me
+yesterday it was hidden under the floor.
+
+MATRYONA. Well, and did you look there?
+
+ANISYA. I couldn't. The old man himself was in the room. I notice that
+sometimes he carries it about on him, and sometimes he hides it.
+
+MATRYONA. But you, my lass, must remember that if once he gives you
+the slip there's no getting it right again! (Whispering.) Well, and
+did you give him the strong tea?
+
+ANISYA. Oh! oh!...
+
+     [About to answer, but sees neighbor and stops.
+
+     [The NEIGHBOR (a woman) passes the hut, and listens to a call from
+      within.
+
+NEIGHBOR (to Anisya). I say, Anisya! Oh, Anisya! There's your old man
+calling, I think.
+
+ANISYA. That's the way he always coughs,--just as if he were screaming.
+He's getting very bad.
+
+NEIGHBOR (approaches MATRYONA). How do you do, granny? Have you come
+far?
+
+MATRYONA. Straight from home, dear. Come to see my son. Brought him
+some shirts--can't help thinking of these things, you see, when it's
+one's own child.
+
+NEIGHBOR. Yes, that's always so. (To Anisya.) And I was thinking of
+beginning to bleach the linen, but it is a bit early, no one has begun
+yet.
+
+ANISYA. Where's the hurry?
+
+MATRYONA. Well, and has he had communion?
+
+ANISYA. Oh, dear, yes, the priest was here yesterday.
+
+NEIGHBOR. I had a look at him yesterday. Dearie me! one wonders his
+body and soul keep together. And, O Lord, the other day he seemed just
+at his last gasp, so that they laid him under the holy icons.[1] They
+started lamenting and got ready to lay him out.
+
+ANISYA. He came to, and creeps about again.
+
+MATRYONA. Well, and is he to have extreme unction?
+
+ANISYA. The neighbors advise it. If he lives till to-morrow we'll send
+for the priest.
+
+NEIGHBOR. Oh, Anisya dear, I should think your heart must be heavy. As
+the saying goes, "Not he is sick that's ill in bed, but he that sits
+and waits in dread."
+
+ANISYA. Yes, if it were only over one way or other!
+
+NEIGHBOR. Yes, that's true, dying for a year, it's no joke. You're
+bound hand and foot like that.
+
+MATRYONA. Ah, but a widow's lot is also bitter. It's all right as long
+as one's young, but who'll care for you when you're old? Oh yes, old
+age is not pleasure. Just look at me. I've not walked very far, and
+yet am so footsore I don't know how to stand. Where's my son?
+
+ANISYA. Ploughing. But you come in and we'll get the samovar ready;
+the tea'll set you up again.
+
+MATRYONA (sitting down). Yes, it's true, I'm quite done up, my dears.
+As to extreme unction, that's absolutely necessary. Besides, they say
+it's good for the soul.
+
+ANISYA. Yes, we'll send to-morrow.
+
+MATRYONA. Yes, you had better. And we've had a wedding down in our
+parts.
+
+NEIGHBOR. What, in spring?[2]
+
+MATRYONA. Ah, now if it were a poor man, then, as the saying is, it's
+always unseasonable for a poor man to marry. But it's Simon
+Matveyitch, he's married that Marina.
+
+ANISYA. What luck for her!
+
+NEIGHBOR. He's a widower. I suppose there are children?
+
+MATRYONA. Four of 'em. What decent girl would have him! Well, so he's
+taken her, and she's glad. You see, the vessel was not sound, so the
+wine trickled out.
+
+NEIGHBOR. Oh, my! And what do people say to it? And he, a rich
+peasant!
+
+MATRYONA. They are living well enough so far.
+
+NEIGHBOR. Yes, it's true enough. Who wants to marry where there are
+children? There now, there's our Michael. He's such a fellow, dear
+me....
+
+PEASANT'S VOICE. Hullo, Mavra. Where the devil are you? Go and drive
+the cow in.
+
+     [Exit NEIGHBOR.
+
+MATRYONA (while the NEIGHBOR is within hearing speaks in her ordinary
+voice). Yes, lass, thank goodness, she's married. At any rate my old
+fool won't go bothering about Nikita. Now (suddenly changing her
+tone), she's gone! (Whispers.) I say, did you give him the tea?
+
+ANISYA. Don't speak about it. He'd better die of himself. It's no use
+--he doesn't die, and I have only taken a sin on my soul. O-oh, my
+head, my head! Oh, why did you give me those powders?
+
+MATRYONA. What of the powders? The sleeping powders, lass,--why not
+give them? No evil can come of them.
+
+ANISYA. I am not talking of the sleeping ones, but the others, the
+white ones.
+
+MATRYONA. Well, honey, those powders are medicinal.
+
+ANISYA (sighs). I know, yet it's frightening. Though he's worried me
+to death.
+
+MATRYONA. Well, and did you use many?
+
+ANISYA. I gave two doses.
+
+MATRYONA. Was anything noticeable?
+
+ANISYA. I had a taste of the tea myself--just a little bitter. And he
+drank them with the tea and says, "Even tea disgusts me," and I say,
+"Everything tastes bitter when one's sick." But I felt that scared,
+mother.
+
+MATRYONA. Don't go thinking about it. The more one thinks the worse it
+is.
+
+ANISYA. I wish you'd never given them to me and led me into sin. When
+I think of it something seems to tear my heart. Oh, dear, why did you
+give them to me?
+
+MATRYONA. What do you mean, honey? Lord help you! Why are you turning
+it on to me? Mind, lass, don't go twisting matters from the sick on to
+the healthy. If anything were to happen, I stand aside! I know
+nothing! I'm aware of nothing! I'll kiss the cross on it; I never gave
+you any kind of powders, never saw any, never heard of any, and never
+knew there were such powders. You think about yourself, lass. Why, we
+were talking about you the other day. "Poor thing, what torture she
+endures. The step-daughter an idiot; the old man rotten, sucking her
+lifeblood. What wouldn't one be ready to do in such a case!"
+
+ANISYA. I'm not going to deny it. A life such as mine could make one
+do worse than that. It could make you hang yourself or throttle him.
+Is this a life?
+
+MATRYONA. That's just it. There's no time to stand gaping; the money
+must be found one way or other, and then he must have his tea.
+
+ANISYA. O-oh, my head, my head! I can't think what to do. I am so
+frightened; he'd better die of himself. I don't want to have it on my
+soul.
+
+MATRYONA (viciously). And why doesn't he show the money? Does he mean
+to take it along with him? Is no one to have it? Is that right? God
+forbid such a sum should be lost all for nothing. Isn't that a sin?
+What's he doing? Is he worth considering?
+
+ANISYA. I don't know anything. He's worried me to death.
+
+MATRYONA. What is it you don't know? The business is clear. If you
+make a slip now, you'll repent it all your life. He'll give the money
+to his sister and you'll be left without.
+
+ANISYA. O--oh dear! Yes, and he did send for her--I must go.
+
+MATRYONA. You wait a bit and light the samovar first. We'll give him
+some tea and search him together--we'll find it, no fear.
+
+ANISYA. Oh dear, oh dear; supposing something were to happen.
+
+MATRYONA. What now? What's the good of waiting? Do you want the money
+to slip from your hand when it's just in sight? You go and do as I
+say.
+
+ANISYA. Well, I'll go and light the samovar.
+
+MATRYONA. Go, honey, do the business so as not to regret it
+afterwards. That's right!
+
+     [ANISYA turns to go. MATRYONA calls her back.
+
+MATRYONA. Just a word. Don't tell Nikita about the business. He's
+silly. God forbid he should find out about the powders. The Lord only
+knows what he would do. He's so tender-hearted. D'you know, he usen't
+to be able to kill a chicken. Don't tell him. 'Twould be a fine go, he
+wouldn't understand things.
+
+     [Stops horror-struck as PETER appears in the doorway.
+
+PETER (holding on to the wall, creeps out into the porch and calls
+with a faint voice). How's it one can't make you hear? Oh, oh, Anisya!
+Who's there?
+
+     [Drops on the bench.
+
+ANISYA (steps from behind the corner). Why have you come out? You
+should have stayed where you were lying.
+
+PETER. Has the girl gone for Martha? It's very hard.... Oh, if only
+death would come quicker!
+
+ANISYA. She had no time. I sent her to the river. Wait a bit, I'll go
+myself when I'm ready.
+
+PETER. Send Nan. Where's she? Oh, I'm that bad! Oh, death's at hand!
+
+ANISYA. I've sent for her already. Peter. Oh, dear! Then where is she?
+
+ANISYA. Where's she got to, the plague seize her!
+
+PETER. Oh, dear! I can't bear it. All my inside's on fire. It's as if
+a gimlet were boring me. Why have you left me as if I were a dog? ...
+no one to give me a drink.... Oh ... send Nan to me.
+
+ANISYA. Here she is. Nan, go to father.
+
+     [NAN runs in. ANISYA goes behind the corner of the house.
+
+PETER. Go you. Oh ... to Aunt Martha, tell her father wants her; say
+she's to come, I want her.
+
+NAN. All right.
+
+PETER. Wait a bit. Tell her she's to come quick. Tell her I'm dying.
+O--oh!
+
+NAN. I'll just get my shawl and be off.
+
+     [Runs off.
+
+MATRYONA (winking). Now, then, mind and look sharp, lass. Go into the
+hut, hunt about everywhere, like a dog that's hunting for fleas: look
+under everything, and I'll search him.
+
+ANISYA (to MATRYONA). I feel a bit bolder, somehow, now you're here.
+(Goes up to porch. To PETER.) Hadn't I better light the samovar?
+Here's Mother Matryona come to see her son; you'll have a cup of tea
+with her?
+
+PETER. Well, then, light it.
+
+     [ANISYA goes into the house. MATRYONA comes up to the porch.
+
+PETER. How do you do?
+
+MATRYONA (bowing). How d'you do, my benefactor; how d'you do, my
+precious ... still ill, I see. And my old man, he's that sorry! "Go,"
+says he, "see how he's getting on." He sends his respects to you.
+
+     [Bows again.
+
+PETER. I'm dying.
+
+MATRYONA. Ah, yes, Peter Ignatitch, now I look at you I see, as the
+saying has it, "Sickness lives where men live." You've shrivelled,
+shrivelled, all to nothing, poor dear, now I come to look at you.
+Seems illness does not add to good looks.
+
+PETER. My last hour has come.
+
+MATRYONA. Oh well, Peter Ignatitch, it's God's will you know, you've
+had communion, and you'll have unction, God willing. Your missus is a
+wise woman, the Lord be thanked; she'll give you a good burial, and
+have prayers said for your soul, all most respectable! And my son,
+he'll look after things meanwhile.
+
+PETER. There'll be no one to manage things! She's not steady. Has her
+head full of folly--why, I know all about it, I know. And my girl is
+silly and young. I've got the homestead together, and there's no one
+to attend to things. One can't help feeling it.
+
+     [Whimpers.
+
+MATRYONA. Why, if it's money, or something, you can leave orders?
+
+PETER (to Anisya inside the house). Has Nan gone?
+
+MATRYONA (aside). There now, he's remembered!
+
+ANISYA (from inside). She went then and there. Come inside, won't you?
+I'll help you in.
+
+PETER. Let me sit here a bit for the last time. The air's so stuffy
+inside. Oh, how bad I feel! Oh, my heart's burning.... Oh, if death
+would only come!
+
+MATRYONA. If God don't take a soul, the soul can't go out. Death and
+life are in God's will. Peter Ignatitch. You can't be sure of death
+either. Maybe you'll recover yet. There was a man in our village just
+like that, at the very point of death....
+
+PETER. No, I feel I shall die to-day, I feel it.
+
+     [Leans back and shuts his eyes.
+
+ANISYA (enters). Well, now, are you coming in or not? You do keep one
+waiting. Peter! eh, Peter!
+
+MATRYONA (steps aside and beckons to ANISYA with her finger). Well?
+
+ANISYA (comes down the porch steps). Not there.
+
+MATRYONA. But have you searched everywhere? Under the floor?
+
+ANISYA. No, it's not there either. In the shed perhaps; he was
+rummaging there yesterday.
+
+MATRYONA. Go, search, search for all you're worth. Go all over
+everywhere, as if you licked with your tongue! But I see he'll die
+this very day, his nails are turning blue and his face looks earthy.
+Is the samovar ready?
+
+ANISYA. Just on the boil.
+
+NIKITA (comes from the other side, if possible on horse-back, up to
+the gate, and does not see PETER. To MATRYONA). How d'you do, mother,
+is all well at home?
+
+MATRYONA. The Lord be thanked, we're all alive and have a crust to
+bite.
+
+NIKITA. Well and how's master?
+
+MATRYONA. Hush, there he sits.
+
+     [Points to porch.
+
+NIKITA. Well, let him sit. What's it to me?
+
+PETER (opens his eyes). Nikita, I say, Nikita, come here!
+
+     [NIKITA approaches. ANISYA and MATRYONA whisper together.
+
+PETER. Why have you come back so early?
+
+NIKITA. I've finished ploughing.
+
+PETER. Have you done the strip beyond the bridge?
+
+NIKITA. It's too far to go there.
+
+PETER. Too far? From here it's still farther. You'll have to go on
+purpose now. You might have made one job of it.
+
+     [ANISYA, without showing herself, stands and listens.
+
+MATRYONA (approaches). Oh, sonny, why don't you take more pains for
+your master? Your master is ill and depends on you; you should serve
+him as you would your own father, straining every muscle just as I
+always tell you to.
+
+PETER. Well, then--o--oh!... Get out the seed potatoes, and the women
+will go and sort them.
+
+ANISYA (aside). No fear, I'm not going. He's again sending every one
+away; he must have the money on him now, and wants to hide it
+somewhere.
+
+PETER. Else ... o--oh! when the time comes for planting, they'll all
+be rotten. Oh, I can't stand it!
+
+     [Rises.
+
+MATRYONA (runs up into the porch and holds PETER up). Shall I help you
+into the hut?
+
+PETER. Help me in. (Stops.) Nikita!
+
+NIKITA (angrily). What now?
+
+PETER. I shan't see you again.... I'll die to-day.... Forgive me,[3]
+for Christ's sake, forgive me if I have ever sinned against you.... If
+I have sinned in word or deed.... There's been all sorts of things.
+Forgive me!
+
+NIKITA. What's there to forgive? I'm a sinner myself.
+
+MATRYONA. Ah, sonny, have some feeling.
+
+PETER. Forgive me, for Christ's sake.
+
+     [Weeps.
+
+NIKITA (snivels). God will forgive you, Daddy Peter. I have no cause
+to complain of you. You've never done me any wrong. You forgive me;
+maybe I've sinned worse against you. (Weeps.)
+
+     [PETER goes in whimpering, MATRYONA supporting him.
+
+ANISYA. Oh, my poor head! It's not without some reason he's hit on
+that. (Approaches NIKITA.) Why did you say the money was under the
+floor? It's not there.
+
+NIKITA (does not answer, but cries). I have never had anything bad
+from him, nothing but good, and what have I gone and done!
+
+ANISYA. Enough now! Where's the money?
+
+NIKITA (angrily). How should I know? Go and look for it yourself!
+
+ANISYA. What's made you so tender?
+
+NIKITA. I am sorry for him,--that sorry. How he cried! Oh, dear!
+
+ANISYA. Look at him,--seized with pity! He has found some one to pity
+too! He's been treating you like a dog, and even just now was giving
+orders to have you turned out of the house. You'd better show me some
+pity!
+
+NIKITA. What are you to be pitied for?
+
+ANISYA. If he dies, and the money's been hidden away....
+
+NIKITA. No fear, he'll not hide it....
+
+ANISYA. Oh, Nikita darling! he's sent for his sister, and wants to
+give it to her. It will be a bad lookout for us. How are we going to
+live, if he gives her the money? They'll turn me out of the house! You
+try and manage somehow! You said he went to the shed last night.
+
+NIKITA. I saw him coming from there, but where he's shoved it to, who
+can tell?
+
+ANISYA. Oh, my poor head! I'll go and have a look there.
+
+     [NIKITA steps aside.
+
+MATRYONA (comes out of the hut and down the steps of the porch to
+ANISYA and NIKITA). Don't go anywhere. He's got the money on him. I
+felt it on a string round his neck.
+
+ANISYA. Oh my head, my head!
+
+MATRYONA. If you don't keep wide awake now, then you may whistle for
+it. If his sister comes--then good-bye to it!
+
+ANISYA. That's true. She'll come and he'll give it her. What's to be
+done? Oh, my poor head!
+
+MATRYONA. What is to be done? Why, look here; the samovar is boiling,
+go and make the tea and pour him out a cup, and then (whispers) put in
+all that's left in the paper. When he's drunk the cup, then just take
+it. He'll not tell, no fear.
+
+ANISYA. Oh! I'm afeared!
+
+MATRYONA. Don't be talking now, but look alive, and I'll keep his
+sister off if need be. Mind, don't make a blunder! Get hold of the
+money and bring it here, and Nikita will hide it.
+
+ANISYA. Oh my head, my head! I don't know how I'm going to....
+
+MATRYONA. Don't talk about it I tell you, do as I bid you. Nikita!
+
+NIKITA. What is it?
+
+MATRYONA. You stay here--sit down--in case something is wanted.
+
+NIKITA (waves his hand). Oh, these women, what won't they be up to?
+Muddle one up completely. Bother them! I'll really go and fetch out
+the potatoes.
+
+MATRYONA (catches him by the arm). Stay here, I tell you.
+
+     [NAN enters.
+
+ANISYA. Well?
+
+NAN. She was down in her daughter's vegetable plot--she's coming.
+
+ANISYA. Coming! What shall we do?
+
+MATRYONA. There's plenty of time if you do as I tell you.
+
+ANISYA. I don't know what to do; I know nothing, my brain's all in a
+whirl. Nan! Go, daughter, and see to the calves, they'll have run
+away, I'm afraid.... Oh dear, I haven't the courage.
+
+MATRYONA. Go on! I should think the samovar's boiling over.
+
+ANISYA. Oh my head, my poor head!
+
+     [Exit.
+
+MATRYONA (approaches NIKITA). Now then, sonny. (Sits down beside him.)
+Your affairs must also be thought about, and not left anyhow.
+
+NIKITA. What affairs?
+
+MATRYONA. Why, this affair--how you're to live your life.
+
+NIKITA. How to live my life? Others live, and I shall live!
+
+MATRYONA. The old man will probably die to-day.
+
+NIKITA. Well, if he dies, God give him rest! What's that to me?
+
+MATRYONA (keeps looking towards the porch while she speaks). Eh,
+sonny! Those that are alive have to think about living. One needs
+plenty of sense in these matters, honey. What do you think? I've
+tramped all over the place after your affairs, I've got quite footsore
+bothering about matters. And you must not forget me when the time
+comes.
+
+NIKITA. And what's it you've been bothering about?
+
+MATRYONA. About your affairs, about your future. If you don't take
+trouble in good time you'll get nothing. You know Ivan Mosevitch?
+Well, I've been to him too. I went there the other day. I had
+something else to settle, you know. Well, so I sat and chatted awhile
+and then came to the point. "Tell me, Ivan Mosevitch," says I, "how's
+one to manage an affair of this kind? Supposing," says I, "a peasant
+as is a widower married a second wife, and supposing all the children
+he has is a daughter by the first wife, and a daughter by the second.
+Then," says I, "when that peasant dies, could an outsider get hold of
+the homestead by marrying the widow? Could he," says I, "give both the
+daughters in marriage and remain master of the house himself?" "Yes,
+he could," says he, "but," says he, "it would mean a deal of trouble;
+still the thing could be managed by means of money, but if there's no
+money it's no good trying."
+
+NIKITA (laughs). That goes without saying, only fork out the money.
+Who does not want money?
+
+MATRYONA. Well then, honey, so I spoke out plainly about the affair.
+And he says, "First and foremost, your son will have to get himself on
+the register of that village--that will cost something. The elders
+will have to be treated. And they, you see, they'll sign. Everything,"
+says he, "must be done sensibly." Look (unwraps her kerchief and takes
+out a paper), he's written out this paper; just read it, you're a
+scholar, you know.
+
+     [NIKITA reads.
+
+NIKITA. This paper's only a decision for the elders to sign. There's
+no great wisdom needed for that.
+
+MATRYONA. But you just hear what Ivan Mosevitch bids us do. "Above
+all," he says, "mind and don't let the money slip away, dame. If she
+don't get hold of the money," he says, "they'll not let her do it.
+Money's the great thing!" So look out, sonny, things are coming to a
+head.
+
+NIKITA. What's that to me? The money's hers--so let her look out.
+
+MATRYONA. Ah, sonny, how you look at it! How can a woman manage such
+affairs? Even if she does get the money, is she capable of arranging
+it all? One knows what a woman is! You're a man anyhow. You can hide
+it, and all that. You see, you've after all got more sense, in case of
+anything happening.
+
+NIKITA. Oh, your woman's notions are all so inexpedient!
+
+MATRYONA. Why inexpedient? You just collar the money, and the woman's
+in your hands. And then should she ever turn snappish you'd be able to
+tighten the reins!
+
+NIKITA. Bother you all,--I'm going.
+
+ANISYA (quite pale, runs out of the hut and round the corner to
+MATRYONA). So it was, it was on him! Here it is!
+
+     [Shows that she has something under her apron.
+
+MATRYONA. Give it to Nikita; he'll hide it. Nikita, take it and hide
+it somewhere.
+
+NIKITA. All right, give here!
+
+ANISYA. O--oh, my poor head! No, I'd better do it myself.
+
+     [Goes towards the gate.
+
+MATRYONA (seizing her by the arm). Where are you going to? You'll be
+missed. There's the sister coming; give it him; he knows what to do.
+Eh, you blockhead!
+
+ANISYA (stops irresolutely). Oh, my head, my head!
+
+NIKITA. Well, give it here. I'll shove it away somewhere.
+
+ANISYA. Where will you shove it to?
+
+NIKITA (laughing). Why, are you afraid?
+
+     [Enter AKOULINA, carrying clothes from the wash.
+
+ANISYA. O--oh, my poor head! (Gives the money.) Mind, Nikita.
+
+NIKITA. What are you afraid of? I'll hide it so that I'll not be able
+to find it myself.
+
+     [Exit.
+
+ANISYA (stands in terror). Oh dear, and supposing he....
+
+MATRYONA. Well, is he dead?
+
+ANISYA. Yes, he seems dead. He did not move when I took it.
+
+MATRYONA. Go in, there's Akoulina.
+
+ANISYA. Well there, I've done the sin and he has the money....
+
+MATRYONA. Have done and go in! There's Martha coming!
+
+ANISYA. There now, I've trusted him. What's going to happen now?
+
+     [Exit.
+
+Martha (enters from one side, AKOULINA enters from the other. To
+AKOULINA). I should have come before, but I was at my daughter's.
+Well, how's the old man? Is he dying?
+
+AKOULINA (puts down the clothes). Don't know; I've been to the river.
+
+Martha (pointing to MATRYONA). Who's that?
+
+MATRYONA. I'm from Zouevo. I'm Nikita's mother from Zouevo, my dearie.
+Good afternoon to you. He's withering, withering away, poor dear--your
+brother, I mean. He came out himself. "Send for my sister," he said,
+"because," said he.... Dear me, why, I do believe he's dead!
+
+ANISYA (runs out screaming. Clings to a post, and begins wailing).[4]
+Oh, oh, ah! who-o-o-o-m have you left me to, why-y-y have you
+dese-e-e-e-rted me--a miserable widow ... to live my life alone....
+Why have you closed your bright eyes....
+
+     [Enter NEIGHBOR. MATRYONA and NEIGHBOR catch hold of ANISYA under
+      the arms to support her. AKOULINA and MARTHA go into the hut. A
+      crowd assembles.
+
+A VOICE IN THE CROWD. Send for the old women to lay out the body.
+
+MATRYONA (rolls up her sleeves). Is there any water in the copper? But
+I daresay the samovar is still hot. I'll also go and help a bit.
+
+CURTAIN
+
+
+
+
+ACT III
+
+The same hut. Winter. Nine months have passed since Act II. ANISYA,
+plainly dressed, sits before a loom weaving. NAN is on the oven.
+
+MITRITCH (an old laborer, enters and slowly takes off his outdoor
+things). Oh Lord, have mercy! Well, hasn't the master come home yet?
+
+ANISYA. What?
+
+MITRITCH. Nikita isn't back from town, is he?
+
+ANISYA. No.
+
+MITRITCH. Must have been on the spree. Oh Lord!
+
+ANISYA. Have you finished in the stackyard?
+
+MITRITCH. What d'you think? Got it all as it should be, and covered
+everything with straw! I don't like doing things by halves! Oh Lord!
+holy Nicholas! (Picks at the corns on his hands.) But it's time he was
+back.
+
+ANISYA. What need has he to hurry? He's got money. Merry-making with
+that girl, I daresay....
+
+MITRITCH. Why shouldn't one make merry if one has the money? And why
+did Akoulina go to town?
+
+ANISYA. You'd better ask her. How do I know what the devil took her
+there!
+
+MITRITCH. What! to town? There's all sorts of things to be got in town
+if one's got the means. Oh Lord!
+
+NAN. Mother, I heard myself. "I'll get you a little shawl," he says,
+blest if he didn't; "you shall choose it yourself," he says. And she
+got herself up so fine; she put on her velveteen coat and the French
+shawl.
+
+ANISYA. Really, a girl's modesty reaches only to the door. Step over
+the threshold and it's forgotten. She is a shameless creature.
+
+MITRITCH. Oh my! What's the use of being ashamed? While there's plenty
+of money make merry. Oh Lord! It is too soon to have supper, eh?
+(ANISYA does not answer.) I'll go and get warm meanwhile. (Climbs on
+the stove.) Oh, Lord! Blessed Virgin Mother! Holy Nicholas!
+
+NEIGHBOR (enters). Seems your good man's not back yet?
+
+ANISYA. No.
+
+NEIGHBOR. It's time he was. Hasn't he perhaps stopped at our inn? My
+sister, Thekla, says there's heaps of sledges standing there as have
+come from the town.
+
+ANISYA. Nan! Nan, I say!
+
+NAN. Yes?
+
+ANISYA. You run to the inn and see! Mayhap, being drunk, he's gone
+there.
+
+NAN (jumps down from the oven and dresses). All right.
+
+NEIGHBOR. And he's taken Akoulina with him?
+
+ANISYA. Else he'd not have had any need of going. It's because of her
+he's unearthed all the business there. "Must go to the bank," he says;
+"it's time to receive the payments," he says. But it's all her
+fooling.
+
+NEIGHBOR (shakes her head). It's a bad look-out.
+
+     [Silence.
+
+NAN (at the door). And if he's there, what am I to say?
+
+ANISYA. You only see if he's there.
+
+NAN. All right. I'll be back in a winking.
+
+     [Long silence.
+
+MITRITCH (roars). Oh Lord! merciful Nicholas!
+
+NEIGHBOR (starting). Oh, how he scared me! Who is it?
+
+ANISYA. Why, Mitritch, our laborer.
+
+NEIGHBOR. Oh dear, oh dear, what a fright he did give me! I had quite
+forgotten. But tell me, dear, I've heard some one's been wooing
+Akoulina?
+
+ANISYA (gets up from the loom and sits down by the table). There was
+some one from Dedlovo; but it seems the affair's got wind there too.
+They made a start, and then stopped; so the thing fell through. Of
+course, who'd care to?
+
+NEIGHBOR. And the Lizounofs from Zouevo?
+
+ANISYA. They made some steps too, but it didn't come off either. They
+won't even see us.
+
+NEIGHBOR. Yet it's time she was married.
+
+ANISYA. Time and more than time! Ah, my dear, I'm that impatient to
+get her out of the house; but the matter does not come off. He does
+not wish it, nor she either. He's not yet had enough of his beauty,
+you see.
+
+NEIGHBOR. Eh, eh, eh, what doings! Only think of it. Why, he's her
+step-father!
+
+ANISYA. Ah, friend, they've taken me in completely. They've done me so
+fine it's beyond saying. I, fool that I was, noticed nothing,
+suspected nothing, and so I married him. I guessed nothing, but they
+already understood one another.
+
+NEIGHBOR. Oh dear, what goings on!
+
+ANISYA. So it went on from bad to worse, and I see they begin hiding
+from me. Ah, friend, I was that sick--that sick of my life! It's not
+as if I didn't love him.
+
+NEIGHBOR. That goes without saying.
+
+ANISYA. Ah, how hard it is to bear such treatment from him! Oh, how it
+hurts!
+
+NEIGHBOR. Yes, and I've heard say he's becoming too free with his
+fists?
+
+ANISYA. And that too! There was a time when he was gentle when he'd
+had a drop. He used to hit out before, but of me he was always fond!
+But now when he's in a temper he goes for me and is ready to trample
+me under his feet. The other day he got both my hands entangled in my
+hair so that I could hardly get away. And the girl's worse than a
+serpent; it's a wonder the earth bears such furies.
+
+NEIGHBOR. Ah, ah, my dear, now I look at you, you are a sufferer! To
+suffer like that is no joke. To have given shelter to a beggar, and he
+to lead you such a dance! Why don't you pull in the reins?
+
+ANISYA. Ah, but, my dear, if it weren't for my heart! Him as is gone
+was stern enough, still I could twist him about any way I liked; but
+with this one I can do nothing. As soon as I see him all my anger
+goes. I haven't a grain of courage before him; I go about like a
+drowned hen.
+
+NEIGHBOR. Ah, neighbor, you must be under a spell. I've heard that
+Matryona goes in for that sort of thing. It must be her.
+
+ANISYA. Yes, dear; I think so myself sometimes. Gracious me, how hurt
+I feel at times! I'd like to tear him to pieces. But when I set eyes
+on him, my heart won't go against him.
+
+NEIGHBOR. It's plain you're bewitched. It don't take long to blight a
+body. There now, when I look at you, what you have dwindled to!
+
+ANISYA. Growing a regular spindle-shanks. And just look at that fool
+Akoulina. Wasn't the girl a regular untidy slattern, and just look at
+her now! Where has it all come from? Yes, he has fitted her out. She's
+grown so smart, so puffed up, just like a bubble that's ready to
+burst. And, though she's a fool, she's got it into her head. "I'm the
+mistress," she says; "the house is mine; it's me father wanted him to
+marry." And she's that vicious! Lord help us, when she gets into a
+rage she's ready to tear the thatch off the house.
+
+NEIGHBOR. Oh dear, what a life yours is, now I come to look at you.
+And yet there's people envying you: "They're rich," they say; but it
+seems that gold don't keep tears from falling.
+
+ANISYA. Much reason for envy indeed! And the riches, too, will soon be
+made ducks and drakes of. Dear me, how he squanders money!
+
+NEIGHBOR. But how's it, dear, you've been so simple to give up the
+money? It's yours.
+
+ANISYA. Ah, if you knew all! The thing is that I've made one little
+mistake.
+
+NEIGHBOR. Well, if I were you, I'd go straight and have the law of
+him. The money's yours; how dare he squander it? There's no such
+rights.
+
+ANISYA. They don't pay heed to that nowadays.
+
+NEIGHBOR. Ah, my dear, now I come to look at you, you've got that
+weak. Anisya. Yes, quite weak, dear, quite weak. He's got me into a
+regular fix. I don't myself know anything. Oh, my poor head!
+
+NEIGHBOR (listening). There's some one coming, I think.
+
+     [The door opens and AKIM enters.
+
+AKIM (crosses himself, knocks the snow off his feet, and takes off his
+coat). Peace be to this house! How do you do? Are you well, daughter?
+
+ANISYA. How d'you do, father? Do you come straight from home?
+
+AKIM. I've been a-thinking I'll go and see what's name, go to see my
+son, I mean,--my son. I didn't start early--had my dinner, I mean; I
+went, and it's so what d'you call it--so snowy, hard walking, and so
+there I'm what d'you call it--late, I mean. And my son--is he at home?
+At home? My son, I mean.
+
+ANISYA. No; he's gone to the town.
+
+AKIM (sits down on a bench). I've some business with him, d'you see,
+some business, I mean. I told him t'other day, told him I was in need
+--told him, I mean, that our horse was done for, our horse, you see. So
+we must what d'ye call it, get a horse, I mean, some kind of a horse,
+I mean. So there, I've come, you see.
+
+ANISYA. Nikita told me. When he comes back you'll have a talk. (Goes
+to the oven.) Have some supper now, and he'll soon come. Mitritch, eh,
+Mitritch, come have your supper.
+
+MITRITCH. Oh Lord! merciful Nicholas!
+
+ANISYA. Come to supper.
+
+NEIGHBOR. I shall go now. Good-night.
+
+     [Exit.
+
+MITRITCH (gets down from the oven). I never noticed how I fell asleep.
+Oh, Lord! gracious Nicholas! How d'you do, Daddy Akim?
+
+AKIM. Ah, Mitritch! What are you, what d'ye call it, I mean?...
+
+MITRITCH. Why, I'm working for your son, Nikita.
+
+AKIM. Dear me! What d'ye call ... working for my son, I mean. Dear me!
+
+MITRITCH. I was living with a tradesman in town, but drank all I had
+there. Now I've come back to the village. I've no home, so I've gone
+into service. (Gapes.) Oh Lord!
+
+AKIM. But how's that, what d'you call it, or what's name, Nikita, what
+does he do? Has he some business, I mean besides, that he should hire
+a laborer, a laborer, I mean, hire a laborer?
+
+ANISYA. What business should he have? He used to manage, but now he's
+other things on his mind, so he's hired a laborer.
+
+MITRITCH. Why shouldn't he, seeing he has money?
+
+AKIM. Now that's what d'you call it, that's wrong, I mean, quite
+wrong, I mean. That's spoiling oneself.
+
+ANISYA. Oh, he has got spoilt, that spoilt, it's just awful.
+
+AKIM. There now, what d'you call it, one thinks how to make things
+better, and it gets worse I mean. Riches spoil a man, spoil, I mean.
+
+MITRITCH. Fatness makes even a dog go mad; how's one not to get spoilt
+by fat living? Myself now; how I went on with fat living. I drank for
+three weeks without being sober. I drank my last breeches. When I had
+nothing left, I gave it up. Now I've determined not to. Bother it!
+
+AKIM. And where's what d'you call, your old woman?
+
+MITRITCH. My old woman has found her right place, old fellow. She's
+hanging about the gin-shops in town. She's a swell too; one eye
+knocked out, and the other black, and her muzzle twisted to one side.
+And she's never sober; drat her!
+
+AKIM. Oh, oh, oh, how's that?
+
+MITRITCH. And where's a soldier's wife to go? She has found her right
+place.
+
+     [Silence.
+
+AKIM (to ANISYA). And Nikita,--has he what d'you call it, taken
+anything up to town? I mean, anything to sell?
+
+ANISYA (laying the table and serving up). No, he's taken nothing. He's
+gone to get money from the bank.
+
+AKIM (sitting down to supper). Why? D'you wish to put it to another
+use, the money I mean?
+
+ANISYA. No, we don't touch it. Only some twenty or thirty roubles as
+have come due; they must be taken.
+
+AKIM. Must be taken. Why take it, the money I mean? You'll take some
+to-day I mean, and some to-morrow; and so you'll what d'you call it,
+take it all, I mean.
+
+ANISYA. We get this besides. The money is all safe.
+
+AKIM. All safe? How's that, safe? You take it, and it what d'you call
+it, it's all safe. How's that? You put a heap of meal into a bin, or a
+barn, I mean, and go on taking meal, will it remain there, what d'you
+call it, all safe, I mean? That's, what d'you call it, it's cheating.
+You'd better find out, or else they'll cheat you. Safe indeed! I mean
+you what d'ye call ... you take it and it remains all safe there?
+
+ANISYA. I know nothing about it. Ivan Mosevitch advised us at the
+time. "Put the money in the bank," he said, "the money will be safe,
+and you'll get interest," he said.
+
+MITRITCH (having finished his supper). That's so. I've lived with a
+tradesman. They all do like that. Put the money in the bank, then lie
+down on the oven and it will keep coming in.
+
+AKIM. That's queer talk. How's that--what d'ye call, coming in, how's
+that coming in, and they, who do they get it from I mean, the money I
+mean?
+
+ANISYA. They take the money out of the bank.
+
+MITRITCH. Get along! Tain't a thing a woman can understand! You look
+here, I'll make it all clear to you. Mind and remember. You see,
+suppose you've got some money, and I, for instance, have spring coming
+on, my land's idle, I've got no seeds, or I have to pay taxes. So, you
+see, I go to you. "Akim," I say, "give us a ten-rouble note, and when
+I've harvested in autumn I'll return it, and till two acres for you
+besides, for having obliged me!" And you, seeing I've something to
+fall back on--a horse say, or a cow--you say, "No, give two or three
+roubles for the obligation," and there's an end of it. I'm stuck in
+the mud, and can't do without. So I say, "All right!" and take a
+tenner. In the autumn, when I've made my turnover, I bring it back,
+and you squeeze the extra three roubles out of me.
+
+AKIM. Yes, but that's what peasants do when they what d'ye call it,
+when they forget God. It's not honest, I mean, it's no good, I mean.
+
+MITRITCH. You wait. You'll see it comes just to the same thing. Now
+don't forget how you've skinned me. And Anisya, say, has got some
+money lying idle. She does not know what to do with it, besides, she's
+a woman, and does not know how to use it. She comes to you. "Couldn't
+you make some profit with my money too?" she says. "Why not?" say you,
+and you wait. Before the summer I come again and say, "Give me another
+tenner, and I'll be obliged." Then you find out if my hide isn't all
+gone, and if I can be skinned again you give me Anisya's money. But
+supposing I'm clean shorn,--have nothing to eat,--then you see I can't
+be fleeced any more, and you say, "Go your way, friend," and you look
+out for another, and lend him your own and Anisya's money and skin
+him. That's what the bank is. So it goes round and round. It's a cute
+thing, old fellow!
+
+AKIM (excitedly). Gracious me, whatever is that like? It's what d'ye
+call it, it's filthy! The peasants--what d'ye call it, the peasants do
+so I mean, and know it's, what d'ye call it, a sin! It's what d'you
+call, not right, not right, I mean. It's filthy! How can people as
+have learnt ... what d'ye call it....
+
+MITRITCH. That, old fellow, is just what they're fond off And
+remember, them that are stupid, or the women folk, as can't put their
+money into use themselves, they take it to the bank, and they there,
+deuce take 'em, clutch hold of it, and with this money they fleece the
+people. It's a cute thing!
+
+AKIM (sighing). Oh dear, I see, what d'ye call it, without money it's
+bad, and with money it's worse! How's that? God told us to work, but
+you, what d'you call ... I mean you put money into the bank and go to
+sleep, and the money will what d'ye call it, will feed you while you
+sleep. It's filthy, that's what I call it; it's not right.
+
+MITRITCH. Not right? Eh, old fellow, who cares about that nowadays? And
+how clean they pluck you, too! That's the fact of the matter.
+
+AKIM (sighs). Ah, yes, seems the time's what d'ye call it, the time's
+growing ripe. There, I've had a look at the closets in town. What
+they've come to! It's all polished and polished I mean, it's fine,
+it's what d'ye call it, it's like inside an inn. And what's it all
+for? What's the good of it? Oh, they've forgotten God. Forgotten, I
+mean. We've forgotten, forgotten God, God, I mean! Thank you, my dear,
+I've had enough. I'm quite satisfied.
+
+     [Rises. MITRITCH climbs on to the oven.
+
+ANISYA (eats, and collects the dishes). If his father would only take
+him to task! But I'm ashamed to tell him.
+
+AKIM. What d'you say?
+
+ANISYA. Oh! it's nothing.
+
+     [Enter NAN.
+
+AKIM. Here's a good girl, always busy! You're cold, I should think?
+
+NAN. Yes, I am, terribly. How d'you do, grandfather?
+
+ANISYA. Well? Is he there?
+
+NAN. No. But Andriyan is there. He's been to town, and he says he saw
+them at an inn in town. He says Dad's as drunk as drunk can be!
+
+ANISYA. Do you want anything to eat? Here you are.
+
+NAN (goes to the oven). Well, it is cold. My hands are quite numb.
+
+     [AKIM takes off his leg-bands and bast-shoes. ANISYA washes up.
+
+ANISYA. Father!
+
+AKIM. Well, what is it?
+
+ANISYA. And is Marina living well?
+
+AKIM. Yes, she's living all right. The little woman is what d'ye call
+it, clever and steady; she's living, and what d'ye call it, doing her
+best. She's all right; the little woman's of the right sort I mean;
+painstaking and what d'ye call it, submissive; the little woman's all
+right I mean, all right, you know.
+
+ANISYA. And is there no talk in your village that a relative of
+Marina's husband thinks of marrying our Akoulina? Have you heard
+nothing of it?
+
+AKIM. Ah; that's Mironof. Yes, the women did chatter something. But I
+didn't pay heed, you know. It don't interest me I mean, I don't know
+anything. Yes, the old women did say something, but I've a bad memory,
+bad memory, I mean. But the Mironofs are what d'ye call it, they're
+all right, I mean they're all right.
+
+ANISYA. I'm that impatient to get her settled.
+
+AKIM. And why?
+
+NAN (listens). They've come!
+
+ANISYA. Well, don't you go bothering them.
+
+     [Goes on washing the spoons without turning her head.
+
+NIKITA (enters). Anisya! Wife! who has come?
+
+     [ANISYA looks up and turns away in silence.
+
+NIKITA (severely). Who has come? Have you forgotten?
+
+ANISYA. Now don't humbug. Come in!
+
+NIKITA (still more severely). Who's come?
+
+ANISYA (goes up and takes him by the arm). Well, then, husband has
+come. Now then, come in!
+
+NIKITA (holds back). Ah, that's it! Husband! And what's husband
+called? Speak properly.
+
+ANISYA. Oh bother you! Nikita!
+
+NIKITA. Where have you learnt manners? The full name.
+
+ANISYA. Nikita Akimitch! Now then!
+
+NIKITA. (still in the doorway). Ah, that's it! But now--the surname?
+
+ANISYA (laughs and pulls him by the arm). Tchilikin. Dear me, what
+airs!
+
+NIKITA. Ah, that's it. (Holds on to the door-post.) No, now say with
+which foot Tchilikin steps into this house!
+
+ANISYA. That's enough! You're letting the cold in!
+
+NIKITA. Say with which foot he steps? You've got to say it,--that's
+flat.
+
+ANISYA (aside). He'll go on worrying. (To NIKITA.) Well then, with the
+left. Come in!
+
+NIKITA. Ah, that's it.
+
+ANISYA. You look who's in the hut!
+
+NIKITA. Ah, my parent! Well, what of that? I'm not ashamed of my
+parent. I can pay my respects to my parent. How d'you do, father?
+(Bows and puts out his hand.) My respects to you.
+
+AKIM (does not answer). Drink, I mean drink, what it does! It's
+filthy!
+
+NIKITA. Drink, what's that? I've been drinking? I'm to blame, that's
+flat! I've had a glass with a friend, drank his health.
+
+ANISYA. Go and lie down, I say.
+
+NIKITA. Wife, say where am I standing?
+
+ANISYA. Now then, it's all right, lie down!
+
+NIKITA. No, I'll first drink a samovar with my parent. Go and light
+the samovar. Akoulina, I say, come here!
+
+     [Enter AKOULINA, smartly dressed and carrying their purchases.
+
+AKOULINA. Why have you thrown everything about? Where's the yarn?
+
+NIKITA. The yarn? The yarn's there. Hullo, Mitritch, where are you?
+Asleep? Asleep? Go and put the horse up.
+
+AKIM (not seeing AKOULINA but looking at his son). Dear me, what is he
+doing? The old man's what d'ye call it, quite done up, I mean,--been
+thrashing,--and look at him, what d'ye call it, putting on airs! Put
+up the horse! Faugh, what filth!
+
+MITRITCH (climbs down from the oven, and puts on felt boots). Oh,
+merciful Lord! Is the horse in the yard? Done it to death, I dare say.
+Just see how he's been swilling, the deuce take him. Up to his very
+throat. Oh Lord, Holy Nicholas!
+
+     [Puts on sheepskin and exit.
+
+NIKITA (sits down). You must forgive me, father. It's true I've had a
+drop; well, what of that? Even a hen will drink. Ain't it true? So you
+must forgive me. Never mind Mitritch, he doesn't mind, he'll put it
+up.
+
+ANISYA. Shall I really light the samovar?
+
+NIKITA. Light it! My parent has come. I wish to talk to him, and shall
+drink tea with him. (To AKOULINA.) Have you brought all the parcels?
+
+AKOULINA. The parcels? I've brought mine, the rest's in the sledge.
+Hi, take this, this isn't mine!
+
+     [Throws a parcel on the table and puts the others into her box.
+      NAN watches her while she puts them away. AKIM does not look at
+      his son, but puts his leg-bands and bast-shoes on the oven.
+
+ANISYA (going out with the samovar). Her box is full as it is, and
+still he's bought more!
+
+NIKITA (pretending to be sober). You must not be cross with me,
+father. You think I'm drunk? I am all there, that's flat! As they say,
+"Drink, but keep your wits about you." I can talk with you at once,
+father. I can attend to any business. You told me about the money;
+your horse is worn-out,--I remember! That can all be managed. That's
+all in our hands. If it was an enormous sum that's wanted, then we
+might wait; but as it is I can do everything. That's the case.
+
+AKIM (goes on fidgeting with the leg-bands). Eh, lad, "It's ill
+sledging when the thaw has set in."
+
+NIKITA. What do you mean by that? "And it's ill talking with one who
+is drunk?" But don't you worry, let's have some tea. And I can do
+anything; that's flat! I can put everything to rights.
+
+AKIM (shakes his head). Eh, eh, eh!
+
+NIKITA. The money, here it is. (Puts his hand in his pocket, pulls out
+pocket-book, handles the notes in it and takes out a ten-rouble
+note.) Take this to get a horse; I can't forget my parent. I shan't
+forsake him, that's flat. Because he's my parent! Here you are, take
+it! Really now, I don't grudge it. (Comes up and pushes the note
+towards AKIM, who won't take it. NIKITA catches hold of his father's
+hand.) Take it, I tell you. I don't grudge it.
+
+AKIM. I can't what d'you call it, I mean, can't take it! And can't
+what d'ye call it, talk to you, because you're not yourself, I mean.
+
+NIKITA. I'll not let you go! Take it!
+
+     [Puts the money into AKIM'S hand.
+
+ANISYA (enters, and stops). You'd better take it, he'll give you no
+peace!
+
+AKIM (takes it, and shakes his head). Oh! that liquor. Not like a man,
+I mean!
+
+NIKITA. That's better! If you repay it you'll repay it, if not I'll
+make no bother. That's what I am! (Sees AKOULINA.) Akoulina, show your
+presents.
+
+AKOULINA. What?
+
+NIKITA. Show your presents.
+
+AKOULINA. The presents, what's the use of showing 'em? I've put 'em
+away.
+
+NIKITA. Get them, I tell you. Nan will like to see 'em. Undo the
+shawl. Give it here.
+
+AKIM. Oh, oh! It's sickening!
+
+     [Climbs on the oven.
+
+AKOULINA (gets out the parcels and puts them on the table). Well,
+there you are,--what's the good of looking at 'em?
+
+NAN. Oh how lovely! It's as good as Stepanida's.
+
+AKOULINA. Stepanida's? What's Stepanida's compared to this?
+(Brightening up and undoing the parcels.) Just look here,--see the
+quality! It's a French one.
+
+NAN. The print is fine! Mary has a dress like it, only lighter on a
+blue ground. This is pretty.
+
+NIKITA. Ah, that's it!
+
+     [ANISYA passes angrily into the closet, returns with a tablecloth
+      and the chimney of the Samovar, and goes up to the table.
+
+ANISYA. Drat you, littering the table!
+
+NIKITA. You look here!
+
+ANISYA. What am I to look at? Have I never seen anything? Put it away!
+
+     [Sweeps the shawl on to the floor with her arm.
+
+AKOULINA. What are you pitching things down for? You pitch your own
+things about!
+
+     [Picks up the shawl.
+
+NIKITA. Anisya! Look here!
+
+ANISYA. Why am I to look?
+
+NIKITA. You think I have forgotten you? Look here! (Shows her a parcel
+and sits down on it.) It's a present for you. Only you must earn it!
+Wife, where am I sitting?
+
+ANISYA. Enough of your humbug. I'm not afraid of you. Whose money are
+you spreeing on and buying your fat wench presents with? Mine!
+
+AKOULINA. Yours indeed? No fear! You wished to steal it, but it did
+not come off! Get out of the way!
+
+     [Pushes her while trying to pass.
+
+ANISYA. What are you shoving for? I'll teach you to shove!
+
+AKOULINA. Shove me? You try!
+
+     [Presses against ANISYA.
+
+NIKITA. Now then, now then, you women. Have done now!
+
+     [Steps between them.
+
+AKOULINA. Comes shoving herself in! You ought to keep quiet and
+remember your doings! You think no one knows!
+
+ANISYA. Knows what? Out with it, out with it! What do they know?
+
+AKOULINA. I know something about you!
+
+ANISYA. You're a slut who goes with another's husband!
+
+AKOULINA. And you did yours to death!
+
+ANISYA (throwing herself on AKOULINA). You're raving!
+
+NIKITA (holding her back). Anisya, you seem to have forgotten!
+
+ANISYA. Want to frighten me! I'm not afraid of you!
+
+NIKITA (turns ANISYA round and pushes her out). Be off!
+
+ANISYA. Where am I to go? I'll not go out of my own house!
+
+NIKITA. Be off, I tell you, and don't dare to come in here!
+
+ANISYA. I won't go! (NIKITA pushes her, ANISYA cries and screams and
+clings to the door.) What! am I to be turned out of my own house by
+the scruff of the neck? What are you doing, you scoundrel? Do you
+think there's no law for you? You wait a bit!
+
+NIKITA. Now then!
+
+ANISYA. I'll go to the Elder! To the policeman!
+
+NIKITA. Off, I tell you!
+
+     [Pushes her out.
+
+ANISYA (behind the door). I'll hang myself!
+
+NIKITA. No fear!
+
+NAN. Oh, oh, oh! Mother, dear, darling!
+
+     [Cries.
+
+NIKITA. Me frightened of her! A likely thing! What are you crying for?
+She'll come back, no fear. Go and see to the samovar.
+
+     [Exit NAN.
+
+AKOULINA (collects and folds her presents). The mean wretch, how she's
+messed it up. But wait a bit, I'll cut up her jacket for her! Sure I
+will!
+
+NIKITA. I've turned her out; what more do you want?
+
+AKOULINA. She's dirtied my new shawl. If that bitch hadn't gone away,
+I'd have torn her eyes out!
+
+NIKITA. That's enough. Why should you be angry? Now if I loved her....
+
+AKOULINA. Loved her? She's worth loving, with her fat mug! If you'd
+have given her up, then nothing would have happened. You should have
+sent her to the devil. And the house was mine all the same, and the
+money was mine! Says she is the mistress, but what sort of mistress is
+she to her husband? She's a murderess, that's what she is! She'll
+serve you the same way!
+
+NIKITA. Oh dear, how's one to stop a woman's jaw? You don't yourself
+know what you're jabbering about!
+
+AKOULINA. Yes, I do. I'll not live with her! I'll turn her out of the
+house! She can't live here with me. The mistress indeed! She's not the
+mistress,--that jailbird!
+
+NIKITA. That's enough! What have you to do with her? Don't mind her.
+You look at me! I am the master! I do as I like. I've ceased to love
+her, and now I love you. I love who I like! The power is mine, she's
+under me. That's where I keep her. (Points to his feet.) A pity we've
+no concertina.
+
+     [Sings.
+
+"We have loaves on the stoves, We have porridge on the shelf. So we'll
+live and be gay, Making merry every day, And when death comes, Then
+we'll die! We have loaves on the stoves, We have porridge on the
+shelf...."
+
+     [Enter MITRITCH. He takes off his outdoor things and climbs on
+      the oven.
+
+MITRITCH. Seems the women have been fighting again! Tearing each
+other's hair. Oh Lord, gracious Nicholas!
+
+AKIM. (sitting on the edge of the oven, takes his leg-bands and shoes
+and begins putting them on). Get in, get into the corner.
+
+MITRITCH. Seems they can't settle matters between them. Oh Lord!
+
+NIKITA. Get out the liquor, we'll have some with our tea.
+
+NAN (to AKOULINA). Sister, the samovar is just boiling over.
+
+NIKITA. And where's your mother?
+
+NAN. She's standing and crying out there in the passage.
+
+NIKITA. Oh, that's it! Call her, and tell her to bring the samovar.
+And you, Akoulina, get the tea things.
+
+AKOULINA. The tea things? All right.
+
+     [Brings the things.
+
+NIKITA (unpacks spirits, rusks, and salt herrings). That's for myself.
+This is yarn for the wife. The paraffin is out there in the passage,
+and here's the money. Wait a bit (takes a counting-frame); I'll add it
+up. (Adds.) Wheat-flour, 80 kopeykas, oil ... Father, 10 roubles ...
+Father, come let's have some tea!
+
+     [Silence. AKIM sits on the oven and winds the bands round his
+      legs. Enter ANISYA with samovar.
+
+ANISYA. Where shall I put it?
+
+NIKITA. Here on the table. Well! have you been to the Elder? Ah,
+that's it! Have your say and then eat your words. Now then, that's
+enough. Don't be cross; sit down and drink this. (Fills a wine-glass
+for her.) And here's your present.
+
+     [Gives her the parcel he had been sitting on. ANISYA takes it
+      silently and shakes her head.
+
+AKIM (gets down and puts on his sheepskin, then comes up to the table
+and puts down the money). Here, take your money back! Put it away.
+
+NIKITA (does not see the money). Why have you put on your things?
+
+AKIM. I'm going, going, I mean; forgive me, for the Lord's sake.
+
+     [Takes up his cap and belt.
+
+NIKITA. My gracious! Where are you going to at this time of night?
+
+AKIM. I can't, I mean what d'ye call 'em, in your house, what d'ye
+call 'em, can't stay I mean, stay, can't stay, forgive me.
+
+NIKITA. But are you going without having any tea?
+
+AKIM (fastens his belt). Going because, I mean, it's not right in your
+house, I mean, what d'you call it, not right, Nikita, in the house,
+what d'ye call it, not right! I mean, you are living a bad life,
+Nikita, bad,--I'll go.
+
+NIKITA. Eh, now! Have done talking! Sit down and drink your tea!
+
+ANISYA. Why, father, you'll shame us before the neighbors. What has
+offended you?
+
+AKIM. Nothing what d'ye call it, nothing has offended me, nothing at
+all! I mean only, I see, what d'you call it, I mean, I see my son, to
+ruin, I mean, to ruin, I mean my son's on the road to ruin, I mean.
+
+NIKITA. What ruin? Just prove it!
+
+AKIM. Ruin, ruin; you're in the midst of it! What did I tell you that
+time?
+
+NIKITA. You said all sorts of things! Akim. I told you, what d'ye call
+it, I told you about the orphan lass. That you had wronged an orphan--
+Marina, I mean, wronged her!
+
+NIKITA. Eh! he's at it again. Let bygones be bygones.... All that's
+past!
+
+AKIM (excited). Past! No, lad, it's not past. Sin, I mean, fastens on
+to sin--drags sin after it, and you've stuck fast, Nikita, fast in
+sin! Stuck fast in sin! I see you're fast in sin. Stuck fast, sunk in
+sin, I mean!
+
+NIKITA. Sit down and drink your tea, and have done with it!
+
+AKIM. I can't, I mean can't what d'ye call it, can't drink tea.
+Because of your filth, I mean; I feel what d'ye call it, I feel sick,
+very sick! I can't what d'ye call it, I can't drink tea with you.
+
+NIKITA. Eh! There he goes rambling! Come to the table.
+
+AKIM. You're in your riches same as in a net--you're in a net, I mean.
+Ah, Nikita, it's the soul that God needs!
+
+NIKITA. Now really, what right have you to reprove me in my own house?
+Why do you keep on at me? Am I a child that you can pull by the hair?
+Nowadays those things have been dropped!
+
+AKIM. That's true. I have heard that nowadays, what d'ye call it, that
+nowadays children pull their fathers' beards, I mean! But that's ruin,
+that's ruin, I mean!
+
+NIKITA (angrily). We are living without help from you, and it's you
+who came to us with your wants!
+
+AKIM. The money? There's your money! I'll go begging, begging I mean,
+before I'll take it, I mean.
+
+NIKITA. That's enough! Why be angry and upset the whole company!
+
+     [Holds him by the arm.
+
+AKIM (shrieks). Let go! I'll not stay. I'd rather sleep under some
+fence than in the midst of your filth! Faugh! God forgive me!
+
+     [Exit.
+
+NIKITA. Here's a go!
+
+AKIM (reopens the door). Come to your senses, Nikita! It's the soul
+that God wants!
+
+     [Exit.
+
+AKOULINA (takes cups). Well, shall I pour out the tea?
+
+     [Takes a cup. All are silent.
+
+MITRITCH (roars). Oh Lord be merciful to me a sinner!
+
+     [All start.
+
+NIKITA (lies down on the bench). Oh, it's dull, it's dull! (To
+AKOULINA.) Where's the concertina?
+
+AKOULINA. The concertina? He's bethought himself of it. Why, you took
+it to be mended. I've poured out your tea. Drink it!
+
+NIKITA. I don't want it! Put out the light.... Oh, how dull I feel,
+how dull!
+
+     [Sobs.
+
+CURTAIN
+
+
+
+
+ACT IV
+
+Autumn. Evening. The moon is shining. The stage represents the
+interior of courtyard. The scenery at the back shows, in the middle,
+the back porch of the hut. To the right the winter half of the hut and
+the gate; to the left the summer half and the cellar. To the right of
+the stage is a shed. The sound of tipsy voices and shouts are heard
+from the hut.[5] SECOND NEIGHBOR WOMAN comes out of the hut and
+beckons to FIRST NEIGHBOR WOMAN.
+
+SECOND NEIGHBOR. How's it Akoulina has not shown herself?
+
+FIRST NEIGHBOR. Why hasn't she shown herself? She'd have been glad to;
+but she's too ill, you know. The suitor's relatives have come, and
+want to see the girl; and she, my dear, she's lying in the cold hut
+and can't come out, poor thing!
+
+SECOND NEIGHBOR. But how's that?
+
+FIRST NEIGHBOR. They say she's been bewitched by an evil eye! She's
+got pains in the stomach!
+
+SECOND NEIGHBOR. You don't say so?
+
+FIRST NEIGHBOR. What else could it be?
+
+     [Whispers.
+
+SECOND NEIGHBOR. Dear me! There's a go! But his relatives will surely
+find it out?
+
+FIRST NEIGHBOR. They find it out! They're all drunk! Besides, they are
+chiefly after her dowry. Just think what they give with the girl! Two
+furs, my dear, six dresses, a French shawl, and I don't know how many
+pieces of linen, and money as well,--two hundred roubles, it's said!
+
+SECOND NEIGHBOR. That's all very well, but even money can't give much
+pleasure in the face of such a disgrace.
+
+FIRST NEIGHBOR. Hush!... There's his father, I think.
+
+     [They cease talking and go into the hut.
+
+     [The SUITOR'S FATHER comes out of the hut hiccoughing.
+
+THE FATHER. Oh, I'm all in a sweat. It's awfully hot! Will just cool
+myself a bit. (Stands puffing.) The Lord only knows what--something
+is not right. I can't feel happy.--Well, it's the old woman's affair.
+
+     [Enter MATRYONA from hut.
+
+MATRYONA. And I was just thinking, where's the father? Where's the
+father? And here you are, dear friend.... Well, dear friend, the Lord
+be thanked! Everything is as honorable as can be! When one's arranging
+a match one should not boast. And I have never learnt to boast. But as
+you've come about the right business, so with the Lord's help, you'll
+be grateful to me all your life! She's a wonderful girl! There's no
+other like her in all the district!
+
+THE FATHER. That's true enough, but how about the money?
+
+MATRYONA. Don't you trouble about the money! All she had from her
+father goes with her. And it's more than one gets easily, as things
+are nowadays. Three times fifty roubles!
+
+THE FATHER. We don't complain, but it's for our own child. Naturally
+we want to get the best we can.
+
+MATRYONA. I'll tell you straight, friend: if it hadn't been for me,
+you'd never have found anything like her! They've had an offer from
+the Karmilins, but I stood out against it. And as for the money, I'll
+tell you truly: when her father, God be merciful to his soul, was
+dying, he gave orders that the widow should take Nikita into the
+homestead--of course I know all about it from my son,--and the money
+was to go to Akoulina. Why, another one might have thought of his own
+interests, but Nikita gives everything clean! It's no trifle. Fancy
+what a sum it is!
+
+THE FATHER. People are saying that more money was left her? The lad's
+sharp too!
+
+MATRYONA. Oh, dear soul alive! A slice in another's hand always looks
+big; all she had will be handed over. I tell you, throw doubts to the
+wind and make all sure! What a girl she is! as fresh as a daisy!
+
+THE FATHER. That's so. But my old woman and I were only wondering
+about the girl; why has she not come out? We've been thinking, suppose
+she's sickly?
+
+MATRYONA. Ah, ah.... Who? She? Sickly? Why, there's none to compare
+with her in the district. The girl's as sound as a bell; you can't
+pinch her. But you saw her the other day! And as for work, she's
+wonderful! She's a bit deaf, that's true, but there are spots on the
+sun, you know. And her not coming out, you see, it's from an evil eye!
+A spell's been cast on her! And I know the bitch who's done the
+business! They know of the betrothal and they bewitched her. But I
+know a counter-spell. The girl will get up to-morrow. Don't you worry
+about the girl!
+
+THE FATHER. Well, of course, the thing's settled.
+
+MATRYONA. Yes, of course! Don't you turn back. And don't forget me,
+I've had a lot of trouble. Don't forget....
+
+     [A woman's voice from the hut.
+
+Voice. If we are to go, let's go. Come along, Ivan!
+
+THE FATHER. I'm coming.
+
+     [Exeunt. Guests crowd together in the passage and prepare to go
+      away.
+
+NAN (runs out of the hut and calls to ANISYA). Mother!
+
+ANISYA (from inside.) What d'you want?
+
+NAN. Mother, come here, or they'll hear.
+
+     [ANISYA enters and they go together to the shed.
+
+ANISYA. Well? What is it? Where's Akoulina?
+
+NAN She's gone into the barn. It's awful what's she's doing there! I'm
+blest! "I can't bear it," she says. "I'll scream," she says, "I'll
+scream out loud." Blest if she didn't.
+
+ANISYA. She'll have to wait. We'll see our visitors off first.
+
+NAN. Oh, mother! She's so bad! And she's angry too. "What's the good
+of their drinking my health?" she says. "I shan't marry," she says. "I
+shall die," she says. Mother, supposing she does die! It's awful. I'm
+so frightened!
+
+ANISYA. No fear, she'll not die. But don't you go near her. Come
+along.
+
+     [Exit ANISYA and NAN.
+
+MITRITCH (comes in at the gate and begins collecting the scattered
+hay). Oh, Lord! Merciful Nicholas! What a lot of liquor they've been
+and swilled, and the smell they've made! It smells even out here! But
+no, I don't want any, drat it! See how they've scattered the hay
+about. They don't eat it, but only trample it under foot. A truss gone
+before you know it. Oh, that smell, it seems to be just under my nose!
+Drat it! (Yawns.) It's time to go to sleep! But I don't care to go
+into the hut. It seems to float just round my nose! It has a strong
+scent, the damned stuff! (The guests are heard driving off.) They're
+off at last. Oh Lord! Merciful Nicholas! There they go, binding
+themselves and gulling one another. And it's all gammon!
+
+     [Enter NIKITA.
+
+NIKITA. Mitritch, you get off to sleep and I'll put this straight.
+
+MITRITCH. All right, you throw it to the sheep. Well, have you seen
+'em all off?
+
+NIKITA. Yes, they're off! But things are not right! I don't know what
+to do!
+
+MITRITCH. It's a fine mess. But there's the Foundlings'[6] for that
+sort of thing. Whoever likes may drop one there; they'll take 'em all.
+Give 'em as many as you like, they ask no questions, and even pay--if
+the mother goes in as a wet-nurse. It's easy enough nowadays.
+
+NIKITA. But mind, Mitritch, don't go blabbing.
+
+MITRITCH. It's no concern of mine. Cover the tracks as you think best.
+Dear me, how you smell of liquor! I'll go in. Oh, Lord!
+
+     [Exit, yawning.
+
+     [NIKITA is long silent. Sits down on a sledge.
+
+NIKITA. Here's a go!
+
+     [Enter ANISYA.
+
+ANISYA. Where are you?
+
+NIKITA. Here.
+
+ANISYA. What are you doing there? There's no time to be lost! We must
+take it out directly!
+
+NIKITA. What are we to do?
+
+ANISYA. I'll tell you what you are to do. And you'll have to do it!
+
+NIKITA. You'd better take it to the Foundlings'--if anything.
+
+ANISYA. Then you'd better take it there yourself if you like! You've a
+hankering for smut, but you're weak when it comes to settling up, I
+see!
+
+NIKITA. What's to be done?
+
+ANISYA. Go down into the cellar, I tell you, and dig a hole!
+
+NIKITA. Couldn't you manage, somehow, some other way?
+
+ANISYA (imitating him). "Some other way?" Seems we can't "some other
+way!" You should have thought about it a year ago. Do what you're told
+to! Nikita. Oh, dear, what a go!
+
+     [Enter NAN.
+
+NAN. Mother! Grandmother's calling! I think sister's got a baby! I'm
+blest if it didn't scream!
+
+ANISYA. What are you babbling about? Plague take you! It's kittens
+whining there. Go into the hut and sleep, or I'll give it you!
+
+NAN. Mammy dear, truly, I swear....
+
+ANISYA (raising her arm as if to strike). I'll give it you! You be off
+and don't let me catch sight of you! (Nan runs into hut. To Nikita.)
+Do as you're told, or else mind!
+
+     [Exit.
+
+NIKITA (alone. After a long silence). Here's a go! Oh, these women!
+What a fix! Says you should have thought of it a year ago. When's one
+to think beforehand? When's one to think? Why, last year this Anisya
+dangled after me. What was I to do? Am I a monk? The master died; and
+I covered my sin as was proper, so I was not to blame there. Aren't
+there lots of such cases? And then those powders. Did I put her up to
+that? Why, had I known what the bitch was up to, I'd have killed her!
+I'm sure I should have killed her! She's made me her partner in these
+horrors--that jade! And she became loathsome to me from that day! She
+became loathsome, loathsome to me as soon as mother told me about it.
+I can't bear the sight of her! Well, then, how could I live with her?
+And then it begun.... That wench began hanging round. Well, what was I
+to do! If I had not done it, some one else would. And this is what
+comes of it! Still I'm not to blame in this either. Oh, what a go!
+(Sits thinking.) They are bold, these women! What a plan to think of!
+But I won't have a hand in it!
+
+     [Enter MATRYONA with a lantern and spade, panting.
+
+MATRYONA. Why are you sitting there like a hen on a perch? What did
+your wife tell you to do? You just get things ready!
+
+NIKITA. What do you mean to do?
+
+MATRYONA. We know what to do. You do your share!
+
+NIKITA. You'll be getting me into a mess!
+
+MATRYONA. What? You're not thinking of backing out, are you? Now it's
+come to this, and you back out!
+
+NIKITA. Think what a thing it would be! It's a living soul.
+
+MATRYONA. A living soul indeed! Why, it's more dead than alive. And
+what's one to do with it? Go and take it to the Foundlings'--it will
+die just the same, and the rumor will get about, and people will talk,
+and the girl be left on our hands.
+
+NIKITA. And supposing it's found out?
+
+MATRYONA. Not manage to do it in one's own house? We'll manage it so
+that no one will have an inkling. Only do as I tell you. We women
+can't do it without a man. There, take the spade, and get it done
+there,--I'll hold the light.
+
+NIKITA. What am I to get done?
+
+MATRYONA (in a low voice). Dig a hole; then we'll bring it out and get
+it out of the way in a trice! There, she's calling again. Now then,
+get in, and I'll go.
+
+NIKITA. Is it dead then?
+
+MATRYONA. Of course it is. Only you must be quick, or else people will
+notice! They'll see or they'll hear! The rascals must needs know
+everything. And the policeman went by this evening. Well then, you see
+(gives him the spade), you get down into the cellar and dig a hole
+right in the corner; the earth is soft there, and you'll smooth it
+over. Mother earth will not blab to any one; she'll keep it close. Go
+then; go, dear.
+
+NIKITA. You'll get me into a mess, bother you! I'll go away! You do it
+alone as best you can!
+
+ANISYA (through the doorway). Well? Has he dug it?
+
+MATRYONA. Why have you come away? What have you done with it?
+
+ANISYA. I've covered it with rags. No one can hear it. Well, has he
+dug it?
+
+MATRYONA. He doesn't want to!
+
+ANISYA (springs out enraged). Doesn't want to! How will he like
+feeding vermin in prison! I'll go straight away and tell everything to
+the police! It's all the same if one must perish. I'll go straight and
+tell!
+
+NIKITA (taken aback). What will you tell?
+
+ANISYA. What? Everything! Who took the money? You! (NIKITA is silent.)
+And who gave the poison? I did! But you knew! You knew! You knew! We
+were in agreement!
+
+MATRYONA. That's enough now. Nikita dear, why are you obstinate?
+What's to be done now? One must take some trouble. Go, honey.
+
+ANISYA. See the fine gentleman! He doesn't like it! You've put upon me
+long enough! You've trampled me under foot! Now it's my turn! Go, I
+tell you, or else I'll do what I said.... There, take the spade;
+there, now go!
+
+NIKITA. Drat you! Can't you leave a fellow alone! (Takes the spade,
+but shrinks.) If I don't choose to, I'll not go!
+
+ANISYA. Not go? (Begins to shout.) Neighbors! Heh! heh!
+
+MATRYONA (closes her mouth). What are you about? You're mad! He'll
+go.... Go, sonny, go, my own.
+
+ANISYA. I'll cry murder!
+
+NIKITA. Now stop! Oh, what people! You'd better be quick.... As well
+be hung for a sheep as a lamb!
+
+     [Goes towards the cellar.
+
+MATRYONA. Yes, that's just it, honey. If you know how to amuse
+yourself, you must know how to hide the consequences.
+
+ANISYA (still excited). He's trampled on me ... he and his slut! But
+it's enough! I'm not going to be the only one! Let him also be a
+murderer! Then he'll know how it feels!
+
+MATRYONA. There, there! How she flares up! Don't you be cross, lass,
+but do things quietly little by little, as it's best. You go to the
+girl, and he'll do the work.
+
+     [Follows NIKITA to the cellar with a lantern. He descends into
+      the cellar.
+
+ANISYA. And I'll make him strangle his dirty brat! (Still excited.)
+I've worried myself to death all alone, with Peter's bones weighing on
+my mind! Let him feel it too! I'll not spare myself; I've said I'll
+not spare myself!
+
+NIKITA (from the cellar). Show a light!
+
+MATRYONA (holds up the lantern to him. To ANISYA). He's digging. Go
+and bring it.
+
+ANISYA. You stay with him, or he'll go away, the wretch! And I'll go
+and bring it.
+
+MATRYONA. Mind, don't forget to baptize it, or I will if you like.
+Have you a cross?
+
+ANISYA. I'll find one. I know how to do it.
+
+     [Exit.
+
+       *       *       *       *       *
+
+See at end of Act, VARIATION, which may be used instead of the
+following.
+
+       *       *       *       *       *
+
+MATRYONA. How the woman bristled up! But one must allow she's been put
+upon. Well, but with the Lord's help, when we've covered this
+business, there'll be an end of it. We'll shove the girl off without
+any trouble. My son will live in comfort. The house, thank God, is as
+full as an egg. They'll not forget me either. Where would they have
+been without Matryona? They'd not have known how to contrive things.
+(Peering into the cellar.) Is it ready, sonny? Nikita (puts out his
+head). What are you about there? Bring it quick! What are you dawdling
+for? If it is to be done, let it be done.
+
+MATRYONA (goes towards door of the hut and meets ANISYA. ANISYA comes
+out with a baby wrapped in rags). Well, have you baptized it?
+
+ANISYA. Why, of course. It was all I could do to take it away--she
+wouldn't give it up!
+
+     [Comes forward and hands it to NIKITA.
+
+NIKITA (does not take it). You bring it yourself!
+
+ANISYA. Take it, I tell you!
+
+     [Throws the baby to him.
+
+NIKITA (catches it). It's alive! Gracious me, it's moving! It's alive!
+What am I to....
+
+ANISYA (snatches the baby from him and throws it into the cellar). Be
+quick and smother it, and then it won't be alive! (Pushes NIKITA
+down.) It's your doing, and you must finish it.
+
+MATRYONA (sits on the doorstep of the hut). He's tender-hearted. It's
+hard on him, poor dear. Well, what of that? Isn't it also his sin?
+
+     [ANISYA stands by the cellar.
+
+MATRYONA (sits looking at her and discourses). Oh, oh, oh! How
+frightened he was: well, but what of that? If it is hard, it's the
+only thing to be done. Where was one to put it? And just think, how
+often it happens that people pray to God to have children! But no, God
+gives them none; or they are all still-born. Look at our priest's wife
+now.... And here, where it's not wanted, here it lives. (Looks towards
+the cellar.) I suppose he's finished. (To ANISYA.) Well?
+
+ANISYA (looking into the cellar). He's put a board on it and is
+sitting on it. It must be finished!
+
+MATRYONA. Oh, oh! One would be glad not to sin, but what's one to do?
+
+     [Re-enter NIKITA from cellar, trembling all over.
+
+NIKITA. It's still alive! I can't! It's alive!
+
+ANISYA. If it's alive, where are you off to?
+
+     [Tries to stop him.
+
+NIKITA (rushes at her). Go away! I'll kill you! (Catches hold of her
+arms; she escapes, he runs after her with the spade. MATRYONA runs
+towards him and stops him. ANISYA runs into the porch. MATRYONA tries
+to wrench the spade from him. To his mother.) I'll kill you! I'll kill
+you! Go away! (MATRYONA runs to ANISYA in the porch. NIKITA stops.)
+I'll kill you! I'll kill you all!
+
+MATRYONA. That's because he's so frightened! Never mind, it will pass!
+
+NIKITA. What have they made me do? What have they made me do? How it
+whimpered.... How it crunched under me! What have they done with
+me?... And it's really alive, still alive! (Listens in silence.) It's
+whimpering... There, it's whimpering.
+
+     [Runs to the cellar.
+
+MATRYONA (to ANISYA). He's going; it seems he means to bury it.
+Nikita, you'd better take the lantern!
+
+NIKITA (does not heed her, but listens by the cellar door). I can hear
+nothing! I suppose it was fancy! (Moves away, then stops.) How the
+little bones crunched under me. Krr ... kr.... What have they made me
+do? (Listens again.) Again whimpering! It's really whimpering! What
+can it be? Mother! Mother, I say!
+
+     [Goes up to her.
+
+MATRYONA. What is it, sonny?
+
+NIKITA. Mother, my own mother, I can't do any more! Can't do any more!
+My own mother, have some pity on me!
+
+MATRYONA. Oh dear, how frightened you are, my darling! Come, come,
+drink a drop to give you courage!
+
+NIKITA. Mother, mother! It seems my time has come! What have you done
+with me? How the little bones crunched, and how it whimpered! My own
+mother! What have you done with me?
+
+     [Steps aside and sits down on the sledge.
+
+MATRYONA. Come, my own, have a drink! It certainly does seem uncanny
+at night-time. But wait a bit. When the day breaks, you know, and one
+day and another passes, you'll forget even to think of it. Wait a bit;
+when the girl's married we'll even forget to think of it. But you go
+and have a drink; have a drink! I'll go and put things straight in the
+cellar myself.
+
+NIKITA (rouses himself). Is there any drink left? Perhaps I can drink
+it off!
+
+     [Exit.
+
+     [ANISYA, who has stood all the time by the door, silently makes
+      way for him.
+
+MATRYONA. Go, go, honey, and I'll set to work! I'll go down myself and
+dig! Where has he thrown the spade to? (Finds the spade, and goes down
+into the cellar.) Anisya, come here! Hold the light, will you?
+
+ANISYA. And what of him?
+
+MATRYONA. He's so frightened! You've been too hard with him. Leave him
+alone, he'll come to his senses. God help him! I'll set to work
+myself. Put the lantern down here. I can see.
+
+     [MATRYONA disappears into the cellar.
+
+ANISYA. (looking towards the door by which Nikita entered the hut).
+Well, have you had enough spree? You've been puffing yourself up, but
+now you'll know how it feels! You'll lose some of your bluster!
+
+NIKITA (rushes out of the hut towards the cellar). Mother! Mother, I
+say!
+
+MATRYONA (puts out her head). What is it, sonny?
+
+NIKITA (listening) Don't bury it, it's alive? Don't you hear? Alive!
+There--it's whimpering! There ... quite plain!
+
+MATRYONA. How can it whimper? Why, you've flattened it into a pancake!
+The whole head is smashed to bits!
+
+NIKITA. What is it then? (Stops his ears.) It's still whimpering! I am
+lost! Lost! What have they done with me?... Where shall I go?
+
+     [Sits down on the step.
+
+CURTAIN
+
+       *       *       *       *       *
+
+VARIATION
+
+Instead of the end of Act IV. (from the words, "ANISYA. I'll find one.
+I know how to do it. [Exit]") the following variation may be read, and
+is the one usually acted.
+
+       *       *       *       *       *
+
+SCENE II
+
+The interior of the hut as in Act I.
+
+NAN lies on the bench, and is covered with a coat. MITRITCH is sitting
+on the oven smoking.
+
+MITRITCH. Dear me! How they've made the place smell I Drat 'em!
+They've been spilling the fine stuff. Even tobacco don't get rid of
+the smell! It keeps tickling one's nose so. Oh Lord! But it's bedtime,
+I guess.
+
+     [Approaches the lamp to put it out.
+
+NAN (jumps up, and remains sitting up). Daddy dear,[7] don't put it
+out!
+
+MITRITCH. Not put it out? Why?
+
+NAN. Didn't you hear them making a row in the yard? (Listens.) D'you
+hear, there in the barn again now?
+
+MITRITCH. What's that to you? I guess no one's asked you to mind! Lie
+down and sleep! And I'll turn down the light.
+
+     [Turns down lamp.
+
+NAN. Daddy darling! Don't put it right out; leave a little bit if only
+as big as a mouse's eye, else it's so frightening!
+
+MITRITCH (laughs). All right, all right. (Sits down by her.) What's
+there to be afraid of?
+
+NAN. How can one help being frightened, daddy! Sister did go on so!
+She was beating her head against the box! (Whispers.) You know, I know
+... a little baby is going to be born.... It's already born, I
+think....
+
+MITRITCH. Eh, what a little busybody it is! May the frogs tick her!
+Must needs know everything. Lie down and sleep! (NAN lies down.)
+That's right! (Tucks her up.) That's right! There now, if you know too
+much you'll grow old too soon.
+
+NAN. And you are going to lie on the oven?
+
+Mitrich. Well, of course! What a little silly you are, now I come to
+look at you! Must needs know everything. (Tucks her up again, then
+stands up to go.) There now, lie still and sleep!
+
+     [Goes up to the oven.
+
+NAN. It gave just one cry, and now there's nothing to be heard.
+
+MITRITCH. Oh Lord! Gracious Nicholas! What is it you can't hear?
+
+NAN. The baby.
+
+MITRITCH. There is none, that's why you can't hear it.
+
+NAN. But I heard it! Blest if I didn't hear it! Such a thin voice!
+
+MITRITCH. Heard indeed! Much you heard! Well, if you know,--why then
+it was just such a little girl as you that the bogey popped into his
+bag and made off with.
+
+NAN. What bogey?
+
+MITRITCH. Why, just his very self! (Climbs up on to the oven.) The
+oven is beautifully warm to-night. Quite a treat! Oh Lord! Gracious
+Nicholas!
+
+NAN. Daddy! are you going to sleep?
+
+MITRITCH. What else? Do you think I'm going to sing songs?
+
+     [Silence.
+
+NAN. Daddy! Daddy, I say! They are digging! they're digging--don't
+you hear? Blest if they're not, they're digging!
+
+MITRITCH. What are you dreaming about? Digging! Digging in the night!
+Who's digging? The cow's rubbing herself, that's all. Digging indeed!
+Go to sleep I tell you, else I'll just put out the light!
+
+NAN. Daddy darling, don't put it out! I won't ... truly, truly, I
+won't. It's so frightful!
+
+MITRITCH. Frightful? Don't be afraid and then it won't be frightful.
+Look at her, she's afraid, and then says it's frightful. How can it
+help being frightful if you are afraid? Eh, what a stupid little girl!
+
+     [Silence. The cricket chirps.
+
+NAN (whispers). Daddy! I say, daddy! Are you asleep?
+
+MITRITCH. Now then, what d'you want?
+
+NAN. What's the bogey like?
+
+MITRITCH. Why, like this! When he finds such a one as you, who won't
+sleep, he comes with a sack and pops the girl into it, then in he gets
+himself, head and all, lifts her dress, and gives her a fine whipping!
+
+NAN. What with?
+
+MITRITCH. He takes a birch-broom with him.
+
+NAN. But he can't see there--inside the sack!
+
+MITRITCH. He'll see, no fear!
+
+NAN. But I'll bite him.
+
+MITRITCH. No, friend, him you can't bite!
+
+NAN. Daddy, there's some one coming! Who is it? Oh gracious goodness!
+Who can it be?
+
+MITRITCH. Well, if some one's coming, let them come! What's the matter
+with you? I suppose it's your mother!
+
+     [Enter ANISYA.
+
+ANISYA (NAN pretends to be asleep). Mitritch!
+
+MITRITCH. What?
+
+ANISYA. What's the lamp burning for? We are going to sleep in the
+summer-hut.
+
+MITRITCH. Why, you see I've only just got straight. I'll put the light
+out all right.
+
+ANISYA (rummages in her box and grumbles). When a thing's wanted one
+never can find it!
+
+MITRITCH. Why, what is it you are looking for?
+
+ANISYA. I'm looking for a cross. Suppose it were to die unbaptized! It
+would be a sin, you know!
+
+MITRITCH. Of course it would! Everything in due order.... Have you
+found it?
+
+ANISYA. Yes, I've found it.
+
+     [Exit.
+
+MITRITCH. That's right, else I'd have lent her mine. Oh Lord!
+
+NAN (jumps up trembling). Oh, oh, daddy! Don't go to sleep; for
+goodness' sake, don't! It's so frightful!
+
+MITRITCH. What's frightful?
+
+NAN. It will die--the little baby will! At Aunt Irene's the old woman
+also baptized the baby, and it died!
+
+MITRITCH. If it dies, they'll bury it!
+
+NAN. But maybe it wouldn't have died, only old Granny Matryona's
+there! Didn't I hear what granny was saying? I heard her! Blest if I
+didn't!
+
+MITRITCH. What did you hear? Go to sleep, I tell you. Cover yourself
+up, head and all, and let's have an end of it!
+
+NAN. If it lived, I'd nurse it!
+
+MITRITCH (roars). Oh Lord!
+
+NAN. Where will they put it?
+
+MITRITCH. In the right place! It's no business of yours! Go to sleep I
+tell you, else mother will come; she'll give it you!
+
+     [Silence.
+
+NAN. Daddy! Eh, daddy! That girl, you know, you were telling about
+--they didn't kill her?
+
+MITRITCH. That girl? Oh yes. That girl turned out all right!
+
+NAN. How was it? You were saying you found her?
+
+MITRITCH. Well, we just found her!
+
+NAN. But where did you find her? Do tell!
+
+MITRITCH. Why, in their own house; that's where! We came to a village,
+the soldiers began hunting about in the house, when suddenly there's
+that same little girl lying on the floor, flat on her stomach. We were
+going to give her a knock on the head, but all at once I felt that
+sorry, that I took her up in my arms; but no, she wouldn't let me!
+Made herself so heavy, quite a hundredweight, and caught hold where
+she could with her hands, so that one couldn't get them off! Well, so
+I began stroking her head. It was so bristly,--just like a hedgehog! So
+I stroked and stroked, and she quieted down at last. I soaked a bit of
+rusk and gave it her. She understood that, and began nibbling. What
+were we to do with her? We took her; took her, and began feeding and
+feeding her, and she got so used to us that we took her with us on the
+march, and so she went about with us. Ah, she was a fine girl!
+
+NAN. Yes, and not baptized?
+
+MITRITCH. Who can tell! They used to say, not altogether. 'Cos why,
+those people weren't our own.
+
+NAN. Germans?
+
+MITRITCH. What an idea! Germans! Not Germans, but Asiatics. They are
+just the same as Jews, but still not Jews. Polish, yet Asiatics. Curls
+... or, Curdlys is their name.... I've forgotten what it is![8] We
+called the girl Sashka. She was a fine girl, Sashka was! There now,
+I've forgotten everything I used to know! But that girl--the deuce
+take her--seems to be before my eyes now! Out of all my time of
+service, I remember how they flogged me, and I remember that girl.
+That's all I remember! She'd hang round one's neck, and one 'ud carry
+her so. That was a girl,--if you wanted a better you'd not find one!
+We gave her away afterwards. The captain's wife took her to bring up
+as her daughter. So--she was all right! How sorry the soldiers were to
+let her go!
+
+NAN. There now, daddy, and I remember when father was dying,--you
+were not living with us then. Well, he called Nikita and says,
+"Forgive me, Nikita!" he says, and begins to cry. (Sighs.) That also
+felt very sad!
+
+MITRITCH. Yes; there now, so it is....
+
+NAN. Daddy! Daddy, I say! There they are again, making a noise in the
+cellar! Oh gracious heavens! Oh dear! Oh dear! Oh, daddy! They'll do
+something to it! They'll make away with it, and it's so little! Oh,
+oh!
+
+     [Covers up her head and cries.
+
+MITRITCH (listening). Really they're up to some villainy, blow them to
+shivers! Oh, these women are vile creatures! One can't say much for
+men either; but women!... They are like wild beasts, and stick at
+nothing!
+
+NAN (rising). Daddy; I say, daddy!
+
+MITRITCH. Well, what now?
+
+NAN. The other day a traveller stayed the night; he said that when an
+infant died its soul goes up straight to heaven. Is that true?
+
+MITRITCH. Who can tell? I suppose so. Well?
+
+NAN. Oh, it would be best if I died too.
+
+     [Whimpers.
+
+MITRITCH. Then you'd be off the list!
+
+NAN. Up to ten one's an infant, and maybe one's soul would go to God.
+Else one's sure to go to the bad!
+
+MITRITCH. And how to the bad? How should the likes of you not go to
+the bad? Who teaches you? What do you see? What do you hear? Only
+vileness! I, though I've not been taught much, still know a thing or
+two. I'm not quite like a peasant woman. A peasant woman, what is she?
+Just mud! There are many millions of the likes of you in Russia, and
+all as blind as moles--knowing nothing! All sorts of spells: how to
+stop the cattle-plague with a plough, and how to cure children by
+putting them under the perches in the hen-house! That's what they
+know!
+
+NAN. Yes, mother also did that!
+
+MITRITCH. Yes,--there it is,--just so! So many millions of girls and
+women, and all like beasts in a forest! As she grows up, so she dies!
+Never sees anything; never hears anything. A peasant,--he may learn
+something at the pub, or maybe in prison, or in the army,--as I did.
+But a woman? Let alone about God, she doesn't even know rightly what
+Friday it is! Friday! Friday! But ask her what's Friday? She don't
+know! They're like blind puppies, creeping about and poking their
+noses into the dungheap.... All they know are their silly songs. Ho,
+ho, ho, ho! But what they mean by ho-ho, they don't know themselves!
+
+NAN. But I, daddy, I do know half the Lord's Prayer!
+
+MITRITCH. A lot you know! But what Can one expect of you? Who teaches
+you? Only a tipsy peasant--with the strap perhaps! That's all the
+teaching you get! I don't know who'll have to answer for you. For a
+recruit, the drill-sergeant or the corporal has to answer; but for the
+likes of you there's no one responsible! Just as the cattle that have
+no herdsman are the most mischievous, so with you women--you are the
+stupidest class! The most foolish class is yours!
+
+NAN. Then what's one to do?
+
+MITRITCH. That's what one has to do.... You just cover up your head
+and sleep! Oh Lord!
+
+     [Silence. The cricket chirps.
+
+NAN (jumps up). Daddy! Some one's screaming awfully! Blest if some one
+isn't screaming! Daddy darling, it's coming here!
+
+MITRITCH. Cover up your head, I tell you!
+
+     [Enter NIKITA, followed by MATRYONA.
+
+NIKITA. What have they done with me? What have they done with me?
+
+MATRYONA. Have a drop, honey; have a drop of drink! What's the matter?
+
+     [Fetches the spirits and sets the bottle before him.
+
+NIKITA. Give it here! Perhaps the drink will help me!
+
+MATRYONA. Mind! They're not asleep! Here you are, have a drop!
+
+NIKITA. What does it all mean? Why did you plan it? You might have
+taken it somewhere!
+
+MATRYONA (whispers). Sit still a bit and drink a little more, or have
+a smoke. It will ease your thoughts!
+
+NIKITA. My own mother! My turn seems to have come! How it began to
+whimper, and how the little bones crunched ... krr.... I'm not a man
+now!
+
+MATRYONA. Eh, now, what's the use of talking so silly! Of course it
+does seem fearsome at night, but wait till the daylight comes, and a
+day or two passes, and you'll forget to think of it!
+
+     [Goes up to NIKITA and puts her hand on his shoulder.
+
+NIKITA. Go away from me! What have you done with me?
+
+MATRYONA. Come, come, sonny! Now, really, what's the matter with you?
+
+     [Takes his hand.
+
+NIKITA. Go away from me! I'll kill you! It's all one to me now! I'll
+kill you!
+
+MATRYONA. Oh, oh, how frightened he's got! You should go and have a
+sleep now!
+
+NIKITA. I have nowhere to go; I'm lost!
+
+MATRYONA (shaking her head). Oh, oh, I'd better go and tidy things up.
+He'll sit and rest a bit, and it will pass!
+
+     [Exit.
+
+     [NIKITA sits with his face in his hands. MITRITCH and NAN seem
+stunned.
+
+NIKITA. It's whining! It's whining! It is really--there, there, quite
+plain! She'll bury it, really she will! (Runs to the door.) Mother,
+don't bury it, it's alive....
+
+     [Enter MATRYONA.
+
+MATRYONA (whispers). Now then, what is it? Heaven help you! Why won't
+you get to rest? How can it be alive? All its bones are crushed!
+
+NIKITA. Give me more drink.
+
+     [Drinks.
+
+MATRYONA. Now go, sonny. You'll fall asleep now all right.
+
+NIKITA (stands listening). Still alive ... there ... it's whining!
+Don't you hear?... There!
+
+MATRYONA (whispers). No! I tell you!
+
+NIKITA. Mother! My own mother! I've ruined my life! What have you done
+with me? Where am I to go?
+
+     [Runs out of the hut; MATRYONA follows him.
+
+NAN. Daddy dear, darling, they've smothered it!
+
+MITRITCH (angrily). Go to sleep, I tell you! Oh dear, may the frogs
+kick you! I'll give it to you with the broom! Go to sleep, I tell you!
+
+NAN. Daddy, my treasure! Something is catching hold of my shoulders,
+something is catching hold with its paws! Daddy dear ... really,
+really ... I must go! Daddy, darling! let me get up on the oven with
+you! Let me, for Heaven's sake! Catching hold ... catching hold! Oh!
+
+     [Runs to the stove.
+
+MITRITCH. See how they've frightened the girl.... What vile creatures
+they are! May the frogs kick them! Well then, climb up. Nan (climbs on
+oven). But don't you go away! Mitritch. Where should I go to? Climb
+up, climb up! Oh Lord! Gracious Nicholas! Holy Mother!... How they
+have frightened the girl. (Covers her up.) There's a little fool--
+really a little fool! How they've frightened her; really, they are
+vile creatures! The deuce take 'em!
+
+CURTAIN
+
+
+
+
+ACT V
+
+SCENE I
+
+In front of scene a stack-stand, to the left a thrashing ground, to
+the right a barn. The barn doors are open. Straw is strewn about in
+the doorway. The hut with yard and out-buildings is seen in the
+background, whence proceed sounds of singing and of a tambourine. Two
+GIRLS are walking past the barn towards the hut.
+
+FIRST GIRL. There, you see we've managed to pass without so much as
+getting our boots dirty! But to come by the street is terribly muddy!
+(Stop and wipe their boots on the straw. FIRST GIRL looks at the straw
+and sees something .) What's that?
+
+SECOND GIRL (looks where the straw lies and sees some one). It's
+MITRITCH, their laborer. Just look how drunk he is!
+
+FIRST GIRL. Why, I thought be didn't drink.
+
+SECOND GIRL. It seems he didn't, until it was going around. First
+Girl. Just see! He must have come to fetch some straw. Look! he's got
+a rope in his hand, and he's fallen asleep.
+
+SECOND GIRL (listening). They're still singing the praises.[9] So I
+s'pose the bride and bridegroom have not yet been blessed! They say
+Akoulina didn't even lament![10]
+
+FIRST GIRL. Mammie says she is marrying against her will. Her
+stepfather threatened her, or else she'd not have done it for the
+world! Why, you know what they've been saying about her?
+
+MARINA (catching up the GIRLS). How d'you you do, lassies?
+
+GIRLS. How d'you do?
+
+MARINA. Going to the wedding, my dears?
+
+FIRST GIRL. It's nearly over! We've come just to have a look.
+
+MARINA. Would you call my old man for me? Simon, from Zouevo; but
+surely you know him?
+
+FIRST GIRL. To be sure we do; he's a relative of the bridegroom's, I
+think?
+
+MARINA. Of course; he's my old man's nephew, the bridegroom is.
+
+SECOND GIRL. Why don't you go yourself? Fancy not going to a wedding!
+
+MARINA. I have no mind for it, and no time either. It's time for us to
+be going home. We didn't mean to come to the wedding. We were taking
+oats to town. We only stopped to feed the horse, and they made my old
+man go in.
+
+FIRST GIRL. Where did you put up then? At Fyodoritch's?
+
+MARINA. Yes. Well then, I'll stay here and you go and call him, my
+dear--my old man. Call him, my pet, and say "Your missis, Marina, says
+you must go now!" His mates are harnessing.
+
+FIRST GIRL. Well, all right--if you won't go in yourself.
+
+     [The GIRLS go away towards the house along a footpath. Sounds of
+      songs and tambourine.
+
+MARINA (alone, stands thinking). I might go in, but I don't like to,
+because I have not met him since that day he threw me over. It's more
+than a year now. But I'd have liked to have a peep and see how he
+lives with his Anisya. People say they don't get on. She's a coarse
+woman, and with a character of her own. I should think he's remembered
+me more than once. He's been caught by the idea of a comfortable life
+and has changed me for it. But, God help him, I don't cherish
+ill-will! Then it hurt! Oh dear, it was pain! But now it's worn away
+and been forgotten. But I'd like to have seen him. (Looks towards hut
+and sees NIKITA.) Look there! Why, he is coming here! Have the girls
+told him? How's it he has left his guests? I'll go away! (NIKITA
+approaches, hanging his head down, swinging his arms, and muttering.)
+And how sullen he looks!
+
+NIKITA (sees and recognises MARINA). Marina, dearest friend, little
+MARINA, what do you want?
+
+MARINA. I have come for my old man.
+
+NIKITA. Why didn't you come to the wedding? You might have had a look
+round, and a laugh at my expense!
+
+MARINA. What have I to laugh at? I've come for my husband.
+
+NIKITA. Ah, Marina dear!
+
+     [Tries to embrace her.
+
+MARINA (steps angrily aside). You'd better drop that sort of thing,
+Nikita! What has been is past! I've come for my husband. Is he in your
+house?
+
+NIKITA. So I must not remember the past? You won't let me?
+
+MARINA. It's no use recalling the past! What used to be is over now!
+
+NIKITA. And can never come back, you mean?
+
+MARINA. And will never come back! But why have you gone away? You, the
+master,--and to go away from the feast!
+
+NIKITA (sits down on the straw). Why have I gone away? Eh, if you
+knew, if you had any idea.... I'm dull, Marina, so dull that I wish my
+eyes would not see! I rose from the table and left them, to get away
+from the people. If I could only avoid seeing any one!
+
+MARINA (coming nearer to him). How's that?
+
+NIKITA. This is how it is: when I eat, it's there! When I drink, it's
+there! When I sleep, it's there! I'm so sick of it--so sick! But it's
+chiefly because I'm all alone that I'm so sick, Marina. I have no one
+to share my trouble.
+
+MARINA. You can't live your life without trouble, Nikita. However,
+I've wept over mine and wept it away.
+
+NIKITA. The former, the old trouble! Ah, dear friend, you've wept
+yours away, and I've got mine up to there!
+
+     [Puts his hand to his throat.
+
+MARINA. But why?
+
+NIKITA. Why, I'm sick of my whole life! I am sick of myself! Ah,
+MARINA, why did you not know how to keep me? You've ruined me, and
+yourself too! Is this life?
+
+MARINA (stands by the barn crying, but restrains herself). I do not
+complain of my life, Nikita! God grant every one a life like mine. I
+do not complain. I confessed to my old man at the time, and he forgave
+me. And he does not reproach me. I'm not discontented with my life.
+The old man is quiet, and is fond of me, and I keep his children
+clothed and washed! He is really kind to me. Why should I complain? It
+seems God willed it so. And what's the matter with your life? You are
+rich....
+
+NIKITA. My life!... It's only that I don't wish to disturb the wedding
+feast, or I'd take this rope here (takes hold of the rope on the
+straw) and throw it across that rafter there. Then I'd make a noose
+and stretch it out, and I'd climb on to that rafter and jump down with
+my head in the noose! That's what my life is!
+
+MARINA. That's enough! Lord help you!
+
+NIKITA. You think I'm joking? You think I'm drunk? I'm not drunk!
+To-day even drink takes no hold on me! I'm devoured by misery! Misery
+is eating me up completely, so that I care for nothing! Oh little
+Marina, it's only with you I ever lived! Do you remember how we used
+to while away the nights together at the railway?
+
+MARINA. Don't you rub the sores, Nikita! I'm bound legally now, and
+you too. My sin has been forgiven, don't disturb...
+
+NIKITA. What shall I do with my heart? Where am I to turn to?
+
+MARINA. What's there to be done? You've got a wife. Don't go looking
+at others, but keep to your own! You loved Anisya, then go on loving
+her!
+
+NIKITA. Oh, that Anisya, she's gall and wormwood to me, but she's
+round my feet like rank weeds!
+
+MARINA. Whatever she is, still she's your wife.... But what's the use
+of talking; you'd better go to your visitors, and send my husband to
+me.
+
+NIKITA. Oh dear, if you knew the whole business... but there's no good
+talking!
+
+     [Enter MARINA'S husband, red and tipsy, and NAN.
+
+MARINA'S HUSBAND. Marina! Missis! My old woman! are you here?
+
+NIKITA. There's your husband calling you. Go!
+
+MARINA. And you?
+
+NIKITA. I? I'll lie down here for a bit!
+
+     [Lies down on the straw.
+
+Husband. Where is she then?
+
+NAN. There she is, near the barn.
+
+HUSBAND. What are you standing there for? Come to the feast! The hosts
+want you to come and do them honor! The wedding party is just going to
+start, and then we can go too.
+
+MARINA (going towards her husband). I didn't want to go in.
+
+HUSBAND. Come on, I tell you! You'll drink a glass to our nephew
+Peter's health, the rascal! Else the hosts might take offense! There's
+plenty of time for our business.
+
+     [MARINA'S husband puts his arm around her, and goes reeling out
+      with her.
+
+NIKITA (rises and sits down on the straw). Ah, now that I've seen her,
+life seems more sickening than ever! It was only with her that I ever
+really lived! I've ruined my life for nothing! I've done for myself!
+(Lies down.) Where can I go? If mother earth would but open and
+swallow me!
+
+NAN (sees NIKITA, and runs towards him). Daddy, I say, daddy! They're
+looking for you! Her godfather and all of them have already blessed
+her. Truly they have, they're getting cross!
+
+NIKITA (aside). Where can I go to?
+
+NAN. What? What are you saying?
+
+NIKITA. I'm not saying anything! Don't bother!
+
+NAN. Daddy! Come, I say! (NIKITA is silent, NAN pulls him by the
+hand.) Dad, go and bless them! My word, they're angry, they're
+grumbling!
+
+NIKITA (drags away his hand). Leave me alone!
+
+NAN. Now then!
+
+NIKITA (threatens her with the rope). Go, I say! I'll give it you!
+
+NAN. Then I'll send mother!
+
+     [Runs away.
+
+NIKITA (rises). How can I go? How can I take the holy icon in my
+hands? How am I to look her in the face! (Lies down again.) Oh, if
+there were a hole in the ground, I'd jump in! No one should see me,
+and I should see no one! (Rises again.) No, I shan't go.... May they
+all go to the devil, I shan't go! (Takes the rope and makes a noose,
+and tries it on his neck.) That's the way!
+
+     [Enter MATRYONA. NIKITA sees his mother, takes the rope off his
+      neck, and again lies down in the straw.
+
+MATRYONA (comes in hurriedly). Nikita! Nikita, I say! He don't even
+answer! Nikita, what's the matter? Have you had a drop too much? Come,
+Nikita dear; come, honey! The people are tired of waiting.
+
+NIKITA. Oh dear, what have you done with me? I'm a lost man!
+
+MATRYONA. But what is the matter then? Come, my own; come, give them
+your blessing, as is proper and honorable, and then it'll all be over!
+Why, the people are waiting!
+
+NIKITA. How can I give blessings?
+
+MATRYONA. Why, in the usual way! Don't you know?
+
+NIKITA. I know, I know! But who is it I am to bless? What have I done
+to her?
+
+MATRYONA. What have you done? Eh, now he's going to remember it! Why,
+who knows anything about it? Not a soul! And the girl is going of her
+own accord.
+
+NIKITA. Yes, but how?
+
+MATRYONA. Because she's afraid, of course. But still she's going.
+Besides, what's to be done now? She should have thought sooner! Now
+she can't refuse. And his kinsfolks can't take offense either. They
+saw the girl twice, and get money with her too! It's all safe and
+sound!
+
+NIKITA. Yes, but what's in the cellar?
+
+MATRYONA (laughs). In the cellar? Why, cabbages, mushrooms, potatoes,
+I suppose! Why remember the past?
+
+NIKITA. I'd be only too glad to forget it; but I can't! When I let my
+mind go, it's just as if I heard.... Oh, what have you done with me?
+
+MATRYONA. Now, what are you humbugging for?
+
+NIKITA (turns face downward). Mother! Don't torment me! I've got it up
+to there!
+
+     [Puts his hand to his throat.
+
+MATRYONA. Still it has to be done! As it is, people are talking. "The
+master's gone away and won't come; he can't make up his mind to give
+his blessing." They'll be putting two and two together. As soon as
+they see you're frightened they'll begin guessing. "The thief none
+suspect who walks bold and erect!" But you'll be getting out of the
+frying-pan into the fire! Above all, lad, don't show it; don't lose
+courage, else they'll find out all the more!
+
+NIKITA. Oh dear! You have snared me into a trap!
+
+MATRYONA. That'll do, I tell you; come along! Come in and give your
+blessing, as is right and honorable;--and there's an end of the
+matter!
+
+NIKITA (lies face down). I can't!
+
+MATRYONA (aside). What has come over him? He seemed all right, and
+suddenly this comes over him! It seems he's bewitched! Get up, Nikita!
+See! There's Anisya coming; she's left her guests!
+
+     [ANISYA enters, dressed up, red and tipsy.
+
+ANISYA. Oh, how nice it is, mother! So nice, so respectable! And how
+the people are pleased.... But where is he?
+
+MATRYONA. Here, honey, he's here; he's laid down on the straw and
+there he lies! He won't come!
+
+NIKITA (looking at his wife). Just see, she's tipsy too! When I look
+at her my heart seems to turn! How can one live with her? (Turns on
+his face.) I'll kill her some day! It'll be worse then!
+
+ANISYA. Only look, how he's got all among the straw! Is it the drink?
+(Laughs.) I'd not mind lying down there with you, but I've no time!
+Come, I'll lead you! It is so nice in the house! It's a treat to look
+on! A concertina! And the women singing so well! All tipsy! Everything
+so respectable, so nice!
+
+NIKITA. What's nice?
+
+ANISYA. The wedding--such a jolly wedding! They all say it's quite an
+uncommon fine wedding. All so respectable, so nice! Come along! We'll
+go together! I have had a drop, but I can give you a hand yet!
+
+     [Takes his hand.
+
+NIKITA. (pulls it back with disgust). Go alone! I'll come!
+
+ANISYA. What, are you humbugging for? We've got rid of all the bother,
+we've got rid of her as came between us; now we have nothing to do but
+to live and be merry! And all so respectable, and quite legal! I'm so
+pleased! I have no words for it! It's just as if I were going to marry
+you over again! And oh, the people, they are pleased! They're all
+thanking us! And the guests are all of the best: Ivan Mosevitch is
+there, and the Police Officer; they've also been singing songs of
+praise!
+
+NIKITA. Then you should have stayed with them! What have you come for?
+
+ANISYA. True enough, I must go back! Else what does it look like! The
+hosts both go and leave the visitors! And the guests are all of the
+best!
+
+NIKITA (gets up and brushes the straw off himself). Go, and I'll come
+at once!
+
+MATRYONA. Just see! He listens to the young bird, but wouldn't listen
+to the old one! He would not hear me, but he follows his wife at once!
+(MATRYONA and ANISYA turn to go.) Well, are you coming?
+
+NIKITA. I'll come directly! You go and I'll follow! I'll come and give
+my blessing! (The women stop.) Go on! I'll follow! Now then, go! (Exit
+women. Sits down and takes his boots off.) Yes, I'm going! A likely
+thing! No, you'd better look at the rafter for me! I'll fix the noose
+and jump with it from the rafter, then you can look for me! And the
+rope is here just handy. (Ponders.) I'd have got over it, over any
+sorrow--I'd have got over that. But this now--here it is, deep in my
+heart, and I can't get over it! (Looks towards the yard.) Surely she's
+not coming back? (Imitates ANISYA.) "So nice, so nice. I'd lie down
+here with you." Oh, the baggage! Well, then, here I am! Come and
+cuddle when they've taken me down from the rafter! There's only one
+way!
+
+     [Takes the rope and pulls it.
+
+     [MITRITCH, who is tipsy, sits up and won't let go of the rope.
+
+MITRITCH. Shan't give it up! Shan't give it to no one! I'll bring it
+myself! I said I'd bring the straw--and so I will! Nikita, is that
+you? (Laughs.) Oh, the devil! Have you come to get the straw?
+
+NIKITA. Give me the rope!
+
+Mitrich. No, you wait a bit! The peasants sent me! I'll bring it....
+(Rises to his feet and begins getting the straw together, but reels
+for a time, then falls.) It has beaten me. It's stronger....
+
+NIKITA. Give me the rope!
+
+MITRITCH. Didn't I say I won't! Oh, Nikita, you're as stupid as a hog!
+(Laughs.) I love you, but you're a fool! You see that I'm drunk ...
+devil take you! You think I need you?... You just look at me; I'm a
+Non ... fool, can't say it--Non-commissioned Officer of Her Majesty's
+very First Regiment of Grenadier Guards! I've served Tsar and country,
+loyal and true! But who am I? You think I'm a warrior? No, I'm not a
+warrior; I'm the very least of men, a poor lost orphan! I swore not to
+drink, and now I had a smoke, and.... Well then, do you think I'm
+afraid of you? No fear; I'm afraid of no man! I've taken to drink, and
+I'll drink! Now I'll go it for a fortnight; I'll go it hard! I'll
+drink my last shirt; I'll drink my cap; I'll pawn my passport; and I'm
+afraid of no one! They flogged me in the army to stop me drinking!
+They switched and switched! "Well," they say, "will you leave off?"
+"No," says I! Why should I be afraid of them? Here I am! Such as I am,
+God made me! I swore off drinking, and didn't drink. Now I've took to
+drink, and I'll drink! And I fear no man! 'Cos I don't lie; but just
+as.... Why should one mind them--such muck as they are! "Here you
+are," I say; that's me. A priest told me, the devil's the biggest
+bragger! "As soon," says he, "as you begin to brag, you get
+frightened; and as soon as you fear men then the hoofed one just
+collars you and pushes you where he likes!" But as I don't fear men,
+I'm easy! I can spit in the devil's beard, and at the sow his mother!
+He can't do me no harm! There, put that in your pipe!
+
+NIKITA (crossing himself). True enough! What was I about?
+
+     [Throws down the rope.
+
+MITRITCH. What?
+
+NIKITA (rises). You tell me not to fear men?
+
+MITRITCH. Why fear such muck as they are? You look at 'em in the
+bath-house! All made of one paste! One has a bigger belly, another a
+smaller; that's all the difference there is! Fancy being afraid of
+'em! Deuce take 'em!
+
+MATRYONA (from the yard). Well, are you coming?
+
+NIKITA. Ah! Better so! I'm coming!
+
+     [Goes towards yard.
+
+
+SCENE II
+
+Interior of hut, full of people, some sitting round tables and others
+standing. In the front corner AKOULINA and the BRIDEGROOM. On one of
+the tables an Icon and a loaf of rye-bread. Among the visitors are
+MARINA, her husband, and a POLICE OFFICER, also a HIRED DRIVER, the
+MATCHMAKER, and the BEST MAN. The women are singing. ANISYA carries
+round the drink. The singing stops.
+
+THE DRIVER. If we are to go, let's go! The church ain't so near.
+
+THE BEST MAN. All right; you wait a bit till the step-father has given
+his blessing. But where is he?
+
+ANISYA. He is coming--coming at once, dear friends! Have another
+glass, all of you; don't refuse!
+
+THE MATCHMAKER. Why is he so long? We've been waiting such a time!
+
+ANISYA. He's coming; coming directly, coming in no time! He'll be here
+before one could plait a girl's hair who's had her hair cropped!
+Drink, friends! (Offers the drink.) Coming at once! Sing again, my
+pets, meanwhile!
+
+THE DRIVER. They've sung all their songs, waiting here!
+
+     [The women sing. NIKITA and AKIM enter during the singing.
+
+NIKITA (holds his father's arm and pushes him in before him). Go,
+father; I can't do without you!
+
+AKIM. I don't like--I mean what d'ye call it....
+
+NIKITA (to the women). Enough! Be quiet! (Looks round the hut.)
+Marina, are you there?
+
+THE MATCHMAKER. Go, take the icon, and give them your blessing!
+
+NIKITA. Wait a while! (Looks round.) Akoulina, are you there?
+
+MATCHMAKER. What are you calling everybody for? Where should she be?
+How queer he seems!
+
+ANISYA. Gracious goodness! Why, he's barefoot!
+
+NIKITA. Father, you are here! Look at me! Christian Commune, you are
+all here, and I am here! I am....
+
+     [Falls on his knees.
+
+ANISYA. Nikita, darling, what's the matter with you? Oh, my head, my
+head!
+
+MATCHMAKER. Here's a go!
+
+MATRYONA. I did say he was taking too much of that French wine! Come
+to your senses; what are you about?
+
+     [They try to lift him; he takes no heed of them, but looks in
+      front of him.
+
+NIKITA. Christian Commune! I have sinned, and I wish to confess!
+
+MATRYONA (shakes him by the shoulder). Are you mad? Dear friends, he's
+gone crazy! He must be taken away!
+
+NIKITA (shakes her off). Leave me alone! And you, father, hear me! And
+first, Marina, look here! (Bows to the ground to her and rises.) I
+have sinned towards you! I promised to marry you, I tempted you, and
+forsook you! Forgive me, in Christ's name!
+
+     [Again bows to the ground before her.
+
+ANISYA. And what are you drivelling about? It's not becoming! No one
+wants to know! Get up! It's like your impudence!
+
+MATRYONA. Oh, oh, he's bewitched! And however did it happen? It's a
+spell! Get up! what nonsense are you jabbering?
+
+     [Pulls him.
+
+NIKITA (shakes his head). Don't touch me! Forgive me my sin towards
+you, Marina! Forgive me, for Christ's sake!
+
+     [MARINA covers her face with her hands in silence.
+
+ANISYA. Get up, I tell you! Don't be so impudent! What are you
+thinking about--to recall it? Enough humbug! It's shameful! Oh my poor
+head! He's quite crazy!
+
+NIKITA (pushes his wife away and turns to AKOULINA). Akoulina, now
+I'll speak to you! Listen, Christian Commune! I'm a fiend, Akoulina! I
+have sinned against you! Your father died no natural death! He was
+poisoned!
+
+ANISYA (screams). Oh my head! What's he about?
+
+MATRYONA. The man's beside himself! Lead him away!
+
+     [The folk come up and try to seize him.
+
+AKIM (motions them back with his arms). Wait! You lads, what d'ye call
+it, wait, I mean!
+
+NIKITA. Akoulina, I poisoned him! Forgive me, in Christ's name!
+
+AKOULINA (jumps up). He's telling lies! I know who did it!
+
+MATCHMAKER. What are you about? You sit still!
+
+AKIM. Oh Lord, what sins, what sins!
+
+POLICE OFFICER. Seize him, and send for the Elder! We must draw up an
+indictment and have witnesses to it! Get up and come here!
+
+AKIM (to POLICE OFFICER). Now you--with the bright buttons--I mean,
+you wait! Let him, what d'ye call it, speak out, I mean!
+
+POLICE OFFICER. Mind, old man, and don't interfere! I have to draw up
+an indictment!
+
+AKIM. Eh, what a fellow you are; wait, I say! Don't talk, I mean,
+about, what d'ye call it, 'ditements' Here God's work is being
+done.... A man is confessing, I mean! And you, what d'ye call it ...
+'ditements!
+
+POLICE OFFICER. The Elder!
+
+AKIM. Let God's work be done, I mean, and then you. I mean you, do
+your business!
+
+NIKITA. And, Akoulina, my sin is great towards you; I seduced you;
+forgive me in Christ's name!
+
+     [Bows to the ground before her.
+
+AKOULINA (leaves the table). Let me go! I shan't be married! He told
+me to, but I shan't now!
+
+POLICE OFFICER. Repeat what you have said.
+
+NIKITA. Wait, sir, let me finish!
+
+AKIM (with rapture). Speak, my son! Tell everything--you'll feel
+better! Confess to God, don't fear men! God--God! It is He!
+
+NIKITA. I poisoned the father, dog that I am, and I ruined the
+daughter! She was in my power, and I ruined her, and her baby!
+
+AKOULINA. True, that's true!
+
+NIKITA. I smothered the baby in the cellar with a board! I sat on it
+and smothered it--and its bones crunched! (Weeps.) And I buried it! I
+did it, all alone!
+
+AKOULINA. He raves! I told him to!
+
+NIKITA. Don't shield me! I fear no one now! Forgive me, Christian
+Commune!
+
+     [Bows to the ground.
+
+     [Silence.
+
+POLICE OFFICER. Bind him! The marriage is evidently off!
+
+     [Men come up with their belts.
+
+NIKITA. Wait, there's plenty of time! (Bows to the ground before his
+father.) Father, dear father, forgive me too,--fiend that I am! You
+told me from the first, when I took to bad ways, you said then, "If a
+claw is caught, the bird is lost!" I would not listen to your words,
+dog that I was, and it has turned out as you said! Forgive me, for
+Christ's sake!
+
+AKIM (rapturously). God will forgive you, my own son! (Embraces him.)
+You have had no mercy on yourself; He will show mercy on you! God--
+God! It is He!
+
+     [Enter ELDER.
+
+ELDER. There are witnesses enough here.
+
+POLICE OFFICER. We will have the examination at once.
+
+     [NIKITA is bound.
+
+AKOULINA. (goes and stands by his side). I shall tell the truth! Ask
+me!
+
+NIKITA (bound). No need to ask! I did it all myself. The design was
+mine, and the deed was mine. Take me where you like. I will say no
+more!
+
+CURTAIN
+
+
+
+
+FOOTNOTES FOR THE POWER OF DARKNESS
+
+1.   It is customary to place a dying person under the icon. One or
+     more icons hang in the hut of each Orthodox peasant.
+
+2.   Peasant weddings are usually in autumn. They are forbidden in
+     Lent, and soon after Easter the peasants become too busy to marry
+     till harvest is over.
+
+3.   A formal request for forgiveness is customary among Russians, but
+     it is often no mere formality. Nikita's first reply is evasive;
+     his second reply, "God will forgive you," is the correct one
+     sanctioned by custom.
+
+4.   Loud public wailing of this kind is customary, and considered
+     indispensable, among the peasants.
+
+5.   Where not otherwise mentioned in the stage directions, it is
+     always the winter half of the hut that is referred to as "the
+     hut." The summer half is not heated, and not used in winter
+     under ordinary circumstances.
+
+6.   The Foundlings' Hospital in Moscow, where 80 to 90 percent of the
+     children die.
+
+7.   Nan calls Mitritch "daddy" merely as a term of endearment.
+
+8.   Probably Kurds
+
+9.   This refers to the songs customary at the wedding of Russian
+     peasants, praising the bride and bridegroom.
+
+10.  It is etiquette for a bride to bewail the approaching loss of her
+     maidenhood.
+
+END OF _THE POWER OF DARKNESS_
+
+*       *       *       *       *
+
+FRUITS OF CULTURE
+
+
+
+
+CHARACTERS
+
+LEONID FYODORITCH ZVEZDINTSEF. A retired Lieutenant of the Horse
+Guards. Owner of more than 60,000 acres of land in various provinces.
+A fresh-looking, bland, agreeable gentleman of 60. Believes in
+Spiritualism, and likes to astonish people with his wonderful stories.
+
+ANNA PAVLOVNA ZVEZDINTSEVA. Wife of Leonid. Stout; pretends to be
+young; quite taken up with the conventionalities of life; despises her
+husband, and blindly believes in her doctor. Very irritable.
+
+BETSY. Their daughter. A young woman of 20, fast, tries to be mannish,
+wears a pince-nez, flirts and giggles. Speaks very quickly and
+distinctly.
+
+VASILY LEONIDITCH ZVEZDINTSEF. Their son, aged 25; has studied law,
+but has no definite occupation. Member of the Cycling Club, Jockey
+Club, and of the Society for Promoting the Breeding of Hounds. Enjoys
+perfect health, and has imperturbable self-assurance. Speaks loud and
+abruptly. Is either perfectly serious--almost morose, or is noisily
+gay and laughs loud. Is nicknamed Vovo.
+
+ALEXEY VLADIMIROVITCH KROUGOSVETLOF. A professor and scientist of
+about 50, with quiet and pleasantly self-possessed manners, and quiet,
+deliberate, harmonious speech. Likes to talk. Is mildly disdainful of
+those who do not agree with him. Smokes much. Is lean and active.
+
+THE DOCTOR. About 40. Healthy, fat, red-faced, loud-voiced, and rough;
+with a self-satisfied smile constantly on his lips.
+
+MARYA KONSTANTINOVNA. A girl of 20, from the Conservatoire, teacher of
+music. Wears a fringe, and is super-fashionably dressed. Obsequious,
+and gets easily confused.
+
+PETRISTCHEF. About 28; has taken his degree in philology, and is
+looking out for a position. Member of the same clubs as Vasily
+Leoniditch, and also of the Society for the Organisation of Calico
+Balls. [1] Is bald-headed, quick in movement and speech, and very
+polite.
+
+THE BARONESS. A pompous lady of about 50, slow in her movements,
+speaks with monotonous intonation.
+
+THE PRINCESS. A society woman, a visitor.
+
+HER DAUGHTER. An affected young society woman, a visitor.
+
+THE COUNTESS. An ancient dame, with false hair and teeth. Moves with
+great difficulty.
+
+GROSSMAN. A dark, nervous, lively man of Jewish type. Speaks very
+loud.
+
+THE FAT LADY: MARYA VASILYEVNA TOLBOUHINA. A very distinguished, rich,
+and kindly woman, acquainted with all the notable people of the last
+and present generations. Very stout. Speaks hurriedly, trying to be
+heard above every one else. Smokes.
+
+BARON KLINGEN (nicknamed KOKO). A graduate of Petersburg University.
+Gentleman of the Bedchamber, Attache to an Embassy. Is perfectly
+correct in his deportment, and therefore enjoys peace of mind and is
+quietly gay.
+
+TWO SILENT LADIES.
+
+SERGEY IVANITCH SAHATOF. About 50, an ex-Assistant Minister of State.
+An elegant gentleman, of wide European culture, engaged in nothing and
+interested in everything. His carriage is dignified and at times even
+severe.
+
+THEODORE IVANITCH. Personal attendant on Zvezdintsef, aged about 60. A
+man of some education and fond of information. Uses his pince-nez and
+pocket-handkerchief too much, unfolding the latter very slowly. Takes
+an interest in politics. Is kindly and sensible.
+
+GREGORY. A footman, about 28, handsome, profligate, envious, and
+insolent.
+
+JACOB. Butler, about 40, a bustling, kindly man, to whom the interests
+of his family in the village are all-important.
+
+SIMON. The butler's assistant, about 20, a healthy, fresh, peasant
+lad, fair, beardless as yet; calm and smiling.
+
+THE COACHMAN. A man of about 35, a dandy. Has moustaches but no beard.
+Rude and decided.
+
+A DISCHARGED MAN-COOK. About 45, dishevelled, unshaved, bloated,
+yellow and trembling. Dressed in a ragged, light summer-overcoat and
+dirty trousers. Speaks hoarsely, ejecting the words abruptly.
+
+THE SERVANTS' COOK. A talkative, dissatisfied woman of 30.
+
+THE DOORKEEPER. A retired soldier.
+
+TANYA (TATYANA MARKOVNA). LADY's-maid, 19, energetic, strong, merry,
+with quickly-changing moods. At moments, when strongly excited, she
+shrieks with joy.
+
+FIRST PEASANT. About 60. Has served as village Elder. Imagines that he
+knows how to treat gentlefolk, and likes to hear himself talk.
+
+SECOND PEASANT. About 45, head of a family. A man of few words. Rough
+and truthful. The father of Simon.
+
+THIRD PEASANT. About 70. Wears shoes of plaited bast. Is nervous,
+restless, hurried, and tries to cover his confusion by much talking.
+
+FIRST FOOTMAN (in attendance on the Countess). An old man, with
+old-fashioned manners, and proud of his place.
+
+SECOND FOOTMAN. Of enormous size, strong, and rude.
+
+A PORTER FROM A FASHIONABLE DRESSMAKER'S SHOP. A fresh-faced man in
+dark-blue long coat. Speaks firmly, emphatically, and clearly.
+
+
+The action takes place in Moscow, in Zvesdintsef's house.
+
+
+
+
+ACT I
+
+The entrance hall of a wealthy house in Moscow. There are three doors:
+the front door, the door of LEONID FYODORITCH'S study, and the door of
+VASILY LEONIDITCH'S room. A staircase leads up to the other rooms;
+behind it is another door leading to the servants' quarters.
+
+
+SCENE I
+
+GREGORY (looks at himself in the glass and arranges his hair, etc.). I
+am sorry about those moustaches of mine! "Moustaches are not becoming
+to a footman," she says! And why? Why, so that any one might see
+you're a footman,--else my looks might put her darling son to shame.
+He's a likely one! There's not much fear of his coming anywhere near
+me, moustaches or no moustaches! (Smiling into the glass.) And what a
+lot of 'em swarm round me. And yet I don't care for any of them as
+much as for that Tanya. And she only a lady's-maid! Ah well, she's
+nicer than any young lady. (Smiles.) She's a duck! (Listening.) Ah,
+here she comes. (Smiles.) Yes, that's her, clattering with her little
+heels. Oh!
+
+     [Enter TANYA, carrying a cloak and boots.
+
+GREGORY. My respects to you, Tatyana Markovna.
+
+TANYA. What are you always looking in the glass for? Do you think
+yourself so good-looking?
+
+GREGORY. Well, and are my looks not agreeable?
+
+TANYA. So, so; neither agreeable nor disagreeable, but just betwixt
+and between! Why are all those cloaks hanging there?
+
+GREGORY. I am just going to put them away, your lady-ship! (Takes down
+a fur cloak and, wrapping it round her, embraces her.) I say, Tanya,
+I'll tell you something....
+
+TANYA. Oh, get away, do! What do you mean by it? (Pulls herself
+angrily away.) Leave me alone, I tell you!
+
+GREGORY (looks cautiously around). Then give me a kiss!
+
+TANYA. Now, really, what are you bothering for? I'll give you such a
+kiss!
+
+     [Raises her hand to strike.
+
+VASILY LEONIDITCH (off the scene, rings and then shouts). Gregory!
+
+TANYA. There now, go! Vasily Leoniditch is calling you.
+
+GREGORY. He'll wait! He's only just opened his eyes! I say, why don't
+you love me?
+
+TANYA. What sort of loving have you imagined now? I don't love
+anybody.
+
+GREGORY. That's a fib. You love Simon! You have found a nice one to
+love--a common, dirty-pawed peasant, a butler's assistant!
+
+TANYA. Never mind; such as he is, you are jealous of him!
+
+VASILY LEONIDITCH (off the scene). Gregory!
+
+GREGORY. All in good time.... Jealous indeed! Of what? Why, you have
+only just begun to get licked into shape, and who are you tying
+yourself up with? Now, wouldn't it be altogether a different matter if
+you loved me?.... I say, Tanya....
+
+TANYA (angrily and severely). You'll get nothing from me, I tell you!
+
+VASILY LEONIDITCH (off the scene). Gregory!
+
+GREGORY. You're mighty particular, ain't you?
+
+VASILY LEONIDITCH (off the scene, shouts persistently, monotonously,
+and with all his might) Gregory! Greg--ory! Gregory!
+
+     [TANYA and GREGORY laugh.
+
+GREGORY. You should have seen the girls that have been sweet on me.
+
+     [Bell rings.
+
+TANYA. Well then, go to them, and leave me alone!
+
+GREGORY. You are a silly, now I think of it. I'm not Simon!
+
+TANYA. Simon means marriage, and not tomfoolery!
+
+     [Enter PORTER, carrying a large cardboard box.
+
+PORTER. Good morning!
+
+GREGORY. Good morning! Where are you from?
+
+PORTER. From Bourdey's. I've brought a dress, and here's a note for
+the lady.
+
+TANYA (taking the note). Sit down, and I'll take it in.
+
+     [Exit.
+
+     [VASILY LEONIDITCH looks out of the door in shirt-sleeves and
+      slippers.
+
+VASILY LEONIDITCH. Gregory!
+
+GREGORY. Yes, sir.
+
+VASILY LEONIDITCH. Gregory! Don't you hear me call?
+
+GREGORY. I've only just come, sir.
+
+VASILY LEONIDITCH. Hot water, and a cup of tea.
+
+GREGORY. Yes, sir; Simon will bring them directly.
+
+VASILY LEONIDITCH. And who is this? Ah, from Bourdier?
+
+PORTER. Yes, sir.
+
+     [Exeunt VASILY LEONIDITCH and GREGORY. Bell rings. TANYA runs in
+      at the sound of the bell and opens the front door.
+
+TANYA (to PORTER). Please wait a little. Porter. I am waiting.
+
+     [SAHATOF enters at front door.
+
+TANYA. I beg your pardon, but the footman has just gone away. This
+way, sir. Allow me, please.
+
+     [Takes his fur cloak.
+
+SAHATOF (adjusting his clothes). Is Leonid Fyodoritch at home? Is he
+up?
+
+     [Bell rings.
+
+TANYA. Oh yes, sir. He's been up a long time.
+
+     [DOCTOR enters and looks around for the footman. Sees SAHATOF and
+      addresses him in an offhand manner.
+
+DOCTOR. Ah, my respects to you!
+
+SAHATOF (looks fixedly at him). The Doctor, I believe?
+
+DOCTOR. And I thought you were abroad! Dropped in to see Leonid
+Fyodoritch?
+
+SAHATOF. Yes. And you? Is any one ill?
+
+DOCTOR (laughing). Not exactly ill but, you know.... It's awful with
+these ladies! Sits up at cards till three every morning, and pulls her
+waist into the shape of a wine-glass. And the lady is flabby and fat,
+and carries the weight of a good many years on her back.
+
+SAHATOF. Is this the way you state your diagnosis to Anna Pavlovna? I
+should hardly think it quite pleases her!
+
+DOCTOR (laughing). Well, it's the truth. They do all these tricks--and
+then come derangements of the digestive organs, pressure on the liver,
+nerves, and all sorts of things, and one has to come and patch them
+up. It's just awful! (Laughs.) And you? You are also a spiritualist,
+it seems?
+
+SAHATOF. I? No, I am not also a spiritualist.... Good morning!
+
+     [Is about to go, but is stopped by the DOCTOR.
+
+DOCTOR. No! But I can't myself, you know, positively deny the
+possibility of it, when a man like Krougosvetlof is connected with it
+all. How can one? Is he not a professor,--a European celebrity? There
+must be something in it. I should like to see for myself, but I never
+have the time. I have other things to do.
+
+SAHATOF. Yes, yes! Good morning.
+
+     [Exit, bowing slightly.
+
+DOCTOR (to Tanya). Is Anna Pavlovna up?
+
+TANYA. She's in her bedroom, but please come up.
+
+     [DOCTOR goes upstairs.
+
+     [THEODORE IVANITCH enters with a newspaper In his hand.
+
+THEODORE IVANITCH (to PORTER). What is it you want?
+
+PORTER. I'm from Bourdey's. I brought a dress and a note, and was told
+to wait.
+
+THEODORE IVANITCH. Ah, from Bourdey's! (To Tanya.) Who came in just
+now?
+
+TANYA. It was Sergey Ivanitch Sahatof and the Doctor. They stood
+talking here a bit. It was all about spiritalism.
+
+THEODORE IVANITCH (correcting her). Spiritualism.
+
+TANYA. Yes, that's just what I said--spiritalism. Have you heard how
+well it went off last time, Theodore Ivanitch? (Laughs). There was
+knocks, and things flew about!
+
+THEODORE IVANITCH. And how do you know?
+
+TANYA. Miss Elizabeth told me.
+
+     [JACOB runs in with a tumbler of tea on a tray.
+
+JACOB (to the PORTER). Good morning!
+
+PORTER (disconsolately). Good morning!
+
+     [JACOB knocks at VASILY LEONIDITCH'S door.
+
+     [GREGORY enters.
+
+GREGORY. Give it here.
+
+JACOB. You didn't bring back all yesterday's tumblers, nor the tray
+Vasily Leoniditch had. And it's me that have to answer for them!
+
+GREGORY. The tray is full of cigars.
+
+JACOB. Well, put them somewhere else. It's me who's answerable for it.
+
+GREGORY. I'll bring it back! I'll bring it back!
+
+JACOB. Yes, so you say, but it is not where it ought to be. The other
+day, just as the tea had to be served, it was not to be found.
+
+GREGORY. I'll bring it back, I tell you. What a fuss!
+
+JACOB. It's easy for you to talk. Here am I serving tea for the third
+time, and now there's the lunch to get ready. One does nothing but
+rush about the livelong day. Is there any one in the house who has
+more to do than me? Yet they are never satisfied with me.
+
+GREGORY. Dear me! Who could wish for any one more satisfactory? You're
+such a fine fellow!
+
+TANYA. Nobody is good enough for you! You alone....
+
+GREGORY (to TANYA). No one asked your opinion!
+
+     [Exit.
+
+JACOB. Ah, well, I don't mind. Tatyana Markovna, did the mistress say
+anything about yesterday?
+
+TANYA. About the lamp, you mean?
+
+JACOB. And how it managed to drop out of my hands, the Lord only
+knows! Just as I began rubbing it, and was going to take hold of it in
+another place, out it slips and goes all to pieces. It's just my luck!
+It's easy for that Gregory Mihaylitch to talk--a single man like him!
+But when one has a family, one has to consider things: they have to be
+fed. I don't mind work.... So she didn't say anything? The Lord be
+thanked!... Oh, Theodore Ivanitch, have you one spoon or two?
+
+THEODORE IVANITCH. One. Only one!
+
+     [Reads newspaper.
+
+     [Exit JACOB.
+
+     [Bell rings. Enter GREGORY carrying a tray and the DOORKEEPER.
+
+DOORKEEPER (to GREGORY). Tell the master some peasants have come from
+the village.
+
+GREGORY (pointing to THEODORE IVANITCH). Tell the major-domo here,
+it's his business. I have no time.
+
+     [Exit.
+
+TANYA. Where are these peasants from?
+
+DOORKEEPER. From Koursk, I think.
+
+TANYA. (shrieks with delight). It's them.... It's Simon's father come
+about the land! I'll go and meet them!
+
+     [Runs off.
+
+DOORKEEPER. Well, then what shall I say to them? Shall they come in
+here? They say they've come about the land--the master knows, they
+say.
+
+THEODORE IVANITCH. Yes, they want to purchase some land. All right!
+But he has a visitor now, so you had better tell them to wait.
+
+DOORKEEPER. Where shall they wait?
+
+THEODORE IVANITCH. Let them wait outside. I'll send for them when the
+time comes.
+
+     [Exit DOORKEEPER.
+
+     [Enter TANYA, followed by three PEASANTS.
+
+TANYA. To the right. In here! In here!
+
+THEODORE IVANITCH. I did not want them brought in here!
+
+GREGORY. Forward minx!
+
+TANYA. Oh, Theodore Ivanitch, it won't matter, they'll stand in this
+corner.
+
+THEODORE IVANITCH. They'll dirty the floor.
+
+TANYA. They've scraped their shoes, and I'll wipe the floor up
+afterwards. (To PEASANTS.) Here, stand just here.
+
+     [PEASANTS come forward, carrying presents tied in cotton
+      handkerchiefs: cake, eggs and embroidered towels. They look
+      around for an icon before which to cross themselves; not finding
+      one, they cross themselves, looking at the staircase.
+
+GREGORY (to THEODORE IVANITCH). There now, Theodore Ivanitch, they say
+Pironnet's boots are an elegant shape. But those there are ever so
+much better.
+
+     [Pointing to the third PEASANT'S bast shoes.
+
+THEODORE IVANITCH. Why will you always be ridiculing people?
+
+     [Exit GREGORY.
+
+THEODORE IVANITCH (rises and goes up to the PEASANTS). So you are from
+Koursk? And have come to arrange about buying some land?
+
+FIRST PEASANT. Just so. We might say, it is for the completion of the
+purchase of the land we have come. How could we announce ourselves to
+the master?
+
+THEODORE IVANITCH. Yes, yes, I know. You wait a bit and I'll go and
+inform him.
+
+     [Exit.
+
+     [The PEASANTS look around; they are embarrassed where to put their
+      presents.
+
+FIRST PEASANT. There now, couldn't we have what d'you call it?
+Something to present these here things on? To do it in a genteel way,
+like,--a little dish or something.
+
+TANYA. All right, directly; put them down here for the present.
+
+     [Puts bundles on settle.
+
+FIRST PEASANT. There now,--that respectable gentleman that was here
+just now,--what might be his station?
+
+TANYA. He's the master's valet.
+
+FIRST PEASANT. I see. So he's also in service. And you, now, are you a
+servant too?
+
+TANYA. I am lady's-maid. Do you know, I also come from Demen! I know
+you, and you, but I don't know him.
+
+     [Pointing to THIRD PEASANT.
+
+THIRD PEASANT. Them two you know, but me you don't know?
+
+TANYA. You are Efim Antonitch.
+
+FIRST PEASANT. That's just it!
+
+TANYA. And you are Simon's father, Zachary Trifanitch.
+
+SECOND PEASANT. Right!
+
+THIRD PEASANT. And let me tell you, I'm Mitry Vlasitch Tchilikin. Now
+do you know?
+
+TANYA. Now I shall know you too!
+
+SECOND PEASANT. And who may you be?
+
+TANYA. I am Aksinya's, the soldier's wife's, orphan.
+
+FIRST AND THIRD PEASANTS (with surprise). Never!
+
+SECOND PEASANT. The proverb says true: "Buy a penny pig, put it in the
+rye, And you'll have a wonderful fat porker by-and-by."
+
+FIRST PEASANT. That's just it! She's got the resemblance of a duchess!
+
+THIRD PEASANT. That be so truly. Oh Lord!
+
+VASILY LEONIDITCH (off the scene, rings, and then shouts). Gregory!
+Gregory!
+
+FIRST PEASANT. Now who's that, for example, disturbing himself in such
+a way, if I may say so?
+
+TANYA. That's the young master.
+
+THIRD PEASANT. Oh Lord! Didn't I say we'd better wait outside until
+the time comes?
+
+     [Silence.
+
+SECOND PEASANT. Is it you, Simon wants to marry?
+
+TANYA. Why, has he been writing?
+
+     [Hides her face in her apron.
+
+SECOND PEASANT. It's evident he's written! But it's a bad business
+he's imagined here. I see the lad's got spoilt!
+
+TANYA (quickly). No, he's not at all spoilt! Shall I send him to you?
+
+SECOND PEASANT. Why send him? All in good time. Where's the hurry?
+
+VASILY LEONIDITCH (desperately, behind scene). Gregory! Where the
+devil are you?...
+
+     [Enters from his room in shirt-sleeves, adjusting his pince-nez.
+
+VASILY LEONIDITCH. Is every one dead?
+
+TANYA. He's not here, sir.... I'll send him to you at once.
+
+     [Moves towards the back door.
+
+VASILY LEONIDITCH. I could hear you talking, you know. How have these
+scarecrows sprung up here? Eh? What?
+
+TANYA. They're peasants from the Koursk village, sir.
+
+     [PEASANTS bow.
+
+VASILY LEONIDITCH. And who is this? Oh yes, from Bourdier.
+
+     [VASILY LEONIDITCH pays no attention to the PEASANTS' bow. TANYA
+      meets GREGORY at the doorway and remains on the scene.
+
+VASILY LEONIDITCH (to GREGORY). I told you the other boots.... I can't
+wear these!
+
+GREGORY. Well, the others are also there.
+
+VASILY LEONIDITCH. But where is there?
+
+GREGORY. Just in the same place!
+
+VASILY LEONIDITCH. They're not!
+
+GREGORY. Well, come and see.
+
+     [Exeunt GREGORY and VASILY LEONIDITCH.
+
+THIRD PEASANT. Say, now, might we not in the meantime just go and
+wait, say, in some lodging-house or somewhere?
+
+TANYA. No, no, wait a little. I'll go and bring you some plates to put
+the presents on.
+
+     [Exit.
+
+     [Enter SAHATOF and LEONID FYODORITCH, followed by THEODORE IVANITCH.
+
+     [The PEASANTS take up the presents, and pose themselves.
+
+LEONID FYODORITCH (to PEASANTS). Presently, presently! Wait a bit!
+(Points to PORTER.) Who is this?
+
+PORTER. From Bourdey's.
+
+LEONID FYODORITCH. Ah, from Bourdier.
+
+SAHATOF (smiling). Well, I don't deny it: still you understand that,
+never having seen it, we, the uninitiated, have some difficulty in
+believing.
+
+LEONID FYODORITCH. You say you find it difficult to believe! We do not
+ask for faith; all we demand of you is to investigate! How can I help
+believing in this ring? Yet this ring came from there!
+
+SAHATOF. From there? What do you mean? From where?
+
+LEONID FYODORITCH. From the other world. Yes!
+
+SAHATOF (smiling). That's very interesting--very interesting!
+
+LEONID FYODORITCH. Well, supposing we admit that I'm a man carried
+away by an idea, as you think, and that I am deluding myself. Well,
+but what of Alexey Vladimiritch Krougosvetlof--he is not just an
+ordinary man, but a distinguished professor, and yet he admits it to
+be a fact. And not he alone. What of Crookes? What of Wallace?
+
+SAHATOF. But I don't deny anything. I only say it is very interesting.
+It would be interesting to know how Krougosvetlof explains it!
+
+LEONID FYODORITCH. He has a theory of his own. Could you come
+to-night?--he is sure to be here. First we shall have Grossman--you
+know, the famous thought-reader?
+
+SAHATOF. Yes, I have heard of him but have never happened to meet him.
+
+LEONID FYODORITCH. Then you must come! We shall first have Grossman,
+then Kaptchitch, and our mediumistic seance.... (To THEODORE
+IVANITCH.) Has the man returned from Kaptchitch?
+
+THEODORE IVANITCH. Not yet, sir.
+
+SAHATOF. Then how am I to know?
+
+LEONID FYODORITCH. Never mind, come in any case! If Kaptchitch can't
+come we shall find our own medium. Marya Ignatievna is a medium--not
+such a good one as Kaptchitch, but still....
+
+     [TANYA enters with plates for the presents, and stands listening.
+
+SAHATOF (smiling). Oh, yes, yes. But here is one puzzling point:--how
+is it that the mediums are always of the, so-called, educated class,
+such as Kaptchitch and Marya Ignatievna? If there were such a special
+force, would it not be met with also among the common people--the
+peasants?
+
+LEONID FYODORITCH. Oh yes, and it is! That is very common. Even here
+in our own house we have a peasant whom we discovered to be a medium.
+A few days ago we called him in--a sofa had to be moved, during a
+seance--and we forgot all about him. In all probability he fell
+asleep. And, fancy, after our seance was over and Kaptchitch had come
+to again, we suddenly noticed mediumistic phenomena in another part of
+the room, near the peasant: the table gave a jerk and moved!
+
+TANYA (aside). That was when I was getting out from under it!
+
+LEONID FYODORITCH. It is quite evident he also is a medium. Especially
+as he is very like Home in appearance. You remember Home--a
+fair-haired naif sort of fellow?
+
+SAHATOF (shrugging his shoulders). Dear me, this is very interesting,
+you know. I think you should try him.
+
+LEONID FYODORITCH. So we will! And he is not alone; there are
+thousands of mediums, only we do not know them. Why, only a short time
+ago a bedridden old woman moved a brick wall!
+
+SAHATOF. Moved a brick ... a brick wall?
+
+LEONID FYODORITCH. Yes, yes. She was lying in bed, and did not even
+know she was a medium. She just leant her arm against the wall, and
+the wall moved!
+
+SAHATOF. And did not cave in?
+
+LEONID FYODORITCH. And did not cave in.
+
+SAHATOF. Very strange! Well, then, I'll come this evening.
+
+LEONID FYODORITCH. Pray, do. We shall have a seance in any case.
+
+     [SAHATOF puts on his outdoor things; LEONID FYODORITCH sees him
+      to the door.
+
+PORTER (to TANYA). Do tell your mistress! Am I to spend the night
+here?
+
+TANYA. Wait a little; she's going to drive out with the young lady, so
+she'll soon be coming downstairs.
+
+     [Exit.
+
+LEONID FYODORITCH (comes up to the PEASANTS, who bow and offer him
+their presents). That's not necessary!
+
+FIRST PEASANT (smiling). Oh, but this-here is our first duty, it is!
+It's also the Commune's orders that we should do it!
+
+SECOND PEASANT. That's always been the proper way.
+
+THIRD PEASANT. Say no more about it! 'Cause as we are much
+satisfied.... As our parents, let's say, served, let's say, your
+parents, so we would like the same with all our hearts ... and not
+just anyhow!
+
+     [Bows.
+
+LEONID FYODORITCH. But what is it about? What do you want?
+
+FIRST PEASANT. It's to your honor we've come....
+
+     [Enter PETRISTCHEF briskly, in fur-lined overcoat.
+
+PETRISTCHEF. Is Vasily Leoniditch awake yet?
+
+     [Seeing LEONID FYODORITCH, bows, moving only his head.
+
+LEONID FYODORITCH. You have come to see my son?
+
+PETRISTCHEF. I? Yes, just to see Vovo for a moment.
+
+LEONID FYODORITCH. Step in, step in.
+
+     [PETRISTCHEF takes off his overcoat and walks in briskly. Exit.
+
+LEONID FYODORITCH (to PEASANTS). Well, what is it you want?
+
+SECOND PEASANT. Please accept our presents!
+
+FIRST PEASANT (smiling). That's to say, the peasants' offerings.
+
+THIRD PEASANT. Say no more about it; what's the good? We wish you the
+same as if you were our own father! Say no more about it!
+
+LEONID FYODORITCH. All right. Here, Theodore, take these.
+
+THEODORE IVANITCH (to PEASANTS). Give them here.
+
+     [Takes the presents.
+
+LEONID FYODORITCH. Well, what is the business?
+
+FIRST PEASANT. We've come to your honor....
+
+LEONID FYODORITCH. I see you have; but what do you want?
+
+FIRST PEASANT. It's about making a move towards completing the sale of
+the land. It comes to this....
+
+LEONID FYODORITCH. Do you mean to buy the land?
+
+FIRST PEASANT. That's just it. It comes to this.... I mean the buying
+of the property of the land. The Commune has given us, let's say, the
+power of atturning, to enter, let's say, as is lawful, through the
+Government bank, with a stamp for the lawful amount.
+
+LEONID FYODORITCH. You mean that you want to buy the land through the
+land-bank.
+
+FIRST PEASANT. That's just it. Just as you offered it to us last year.
+It comes to this, then, the whole sum in full for the buying of the
+property of the land is 32,864 roubles.
+
+LEONID FYODORITCH. That's all right, but how about paying up?
+
+FIRST PEASANT. As to the payment, the Commune offers just as it was
+said last year--to pay in 'stalments, and your receipt of the ready
+money by lawful regulations, 4000 roubles in full. [2]
+
+SECOND PEASANT. Take 4000 now, and wait for the rest of the money.
+
+THIRD PEASANT (unwrapping a parcel of money). And about this be quite
+easy. We should pawn our own selves rather than do such a thing just
+anyhow say, but in this way, let's say, as it ought to be done.
+
+LEONID FYODORITCH. But did I not write and tell you that I should not
+agree to it unless you brought the whole sum?
+
+FIRST PEASANT. That's just it. It would be more agreeable, but it is
+not in our possibilities, I mean.
+
+LEONID FYODORITCH. Well then, the thing can't be done!
+
+FIRST PEASANT. The Commune, for example, relied its hopes on that,
+that you made the offer last year to sell it in easy 'stalments....
+
+LEONID FYODORITCH. That was last year. I would have agreed to it then,
+but now I can't.
+
+SECOND PEASANT. But how's that? We've been depending on your promise--
+we've got the papers ready and have collected the money!
+
+THIRD PEASANT. Be merciful, master! We're short of land; we'll say
+nothing about cattle, but even a hen, let's say, we've no room to
+keep. (Bows.) Don't wrong us, master!
+
+     [Bows.
+
+LEONID FYODORITCH. Of course it's quite true, that I agreed last year
+to let you have the land for payment by instalments, but now
+circumstances are such that it would be inconvenient.
+
+SECOND PEASANT. Without this land we cannot live!
+
+FIRST PEASANT. That's just it. Without land our lives must grow weaker
+and come to a decline.
+
+THIRD PEASANT (bowing). Master, we have so little land, let's not talk
+about the cattle, but even a chicken, let's say, we've no room for.
+Master, be merciful, accept the money, master!
+
+LEONID FYODORITCH (examining the document). I quite understand, and
+should like to help you. Wait a little; I will give you an answer in
+half-an-hour.... Theodore, say I am engaged and am not to be
+disturbed.
+
+THEODORE IVANITCH. Yes, sir.
+
+     [Exit LEONID FYODORITCH.
+
+     [The PEASANTS look dejected.
+
+SECOND PEASANT. Here's a go! "Give me the whole sum," he says. And
+where are we to get it from?
+
+FIRST PEASANT. If he had not given us hopes, for example. As it is we
+felt quite insured it would be as was said last year.
+
+THIRD PEASANT. Oh, Lord! and I had begun unwrapping the money. (Begins
+wrapping up the bundle of bank-notes again.) What are we to do now?
+
+THEODORE IVANITCH. What is your business, then?
+
+FIRST PEASANT. Our business, respected sir, depends in this. Last year
+he made us the offer of our buying the land in 'stalments. The Commune
+entered upon these terms and gave us the powers of atturning, and now
+d'you see he makes the offering that we should pay the whole in full!
+And as it turns out, the business is no ways convenient for us.
+
+THEODORE IVANITCH. What is the whole sum?
+
+FIRST PEASANT. The whole sum in readiness is 4000 roubles, you see.
+
+THEODORE IVANITCH. Well, what of that? Make an effort and collect
+more.
+
+FIRST PEASANT. Such as it is, it was collected with much effort. We
+have, so to say, in this sense, not got ammunition enough.
+
+SECOND PEASANT. You can't get blood out of a stone.
+
+THIRD PEASANT. We'd be glad with all our hearts, but we have swept
+even this together, as you might say, with a broom.
+
+     [VASILY LEONIDITCH and PETRISTCHEF appear in the doorway both
+      smoking cigarettes.
+
+VASILY LEONIDITCH. I have told you already I'll do my best, so, of
+course, I will do all that is possible! Eh, what?
+
+PETRISTCHEF. You must just understand that if you do not get it, the
+devil only knows what a mess we shall be in!
+
+VASILY LEONIDITCH. But I've already said I'll do my best, and so I
+will. Eh, what?
+
+PETRISTCHEF. Nothing. I only say, get some at any cost; I will wait.
+
+     [Exit into VASILY LEONIDITCH'S room, closing door.
+
+VASILY LEONIDITCH (waving his arm). It's a deuce of a go!
+
+     [The PEASANTS bow.
+
+VASILY LEONIDITCH (looking at PORTER, to THEODORE IVANITCH). Why don't
+you attend to this fellow from Bourdier? He hasn't come to take
+lodgings with us, has he? Just look, he is asleep! Eh, what?
+
+THEODORE IVANITCH. The note he brought has been sent in, and he has
+been told to wait until Anna Pavlovna comes down.
+
+VASILY LEONIDITCH (looks at PEASANTS and notices the money). And what
+is this? Money? For whom? Is it for us? (To THEODORE IVANITCH.) Who
+are they?
+
+THEODORE IVANITCH. They are peasants from Koursk. They are buying
+land.
+
+VASILY LEONIDITCH. Has it been sold them?
+
+THEODORE IVANITCH. No, they have not yet come to any agreement. They
+are too stingy?
+
+VASILY LEONIDITCH. Eh? Well, we must try and persuade them. (To the
+PEASANTS.) Here, I say, are you buying land? Eh?
+
+FIRST PEASANT. That's just it. We have made an offering as how we
+should like to acquire the possession of the land.
+
+VASILY LEONIDITCH. Then you should not be so stingy, you know. Just
+let me tell you how necessary land is to peasants! Eh, what? It's very
+necessary, isn't it?
+
+FIRST PEASANT. That's just it. The land appears as the very first and
+foremost necessity to a peasant. That's just it.
+
+VASILY LEONIDITCH. Then why be so stingy? Just you think what land is!
+Why, one can sow wheat on it in rows! I tell you, you could get eighty
+bushels of wheat, at a rouble and a half a bushel--that would be 120
+roubles. Eh, what? Or else mint! I tell you, you could collar 400
+roubles off an acre by sowing mint!
+
+FIRST PEASANT. That's just it. All sorts of products one could put
+into action if one had the right understanding.
+
+VASILY LEONIDITCH. Mint! Decidedly mint! I have learnt about it, you
+know. It's all printed in books. I can show them you. Eh, what?
+
+FIRST PEASANT. That's just it, all concerns are clearer to you through
+your books. That's learnedness, of course.
+
+VASILY LEONIDITCH. Then pay up and don't be stingy! (To THEODORE
+IVANITCH.) Where's papa?
+
+THEODORE IVANITCH. He gave orders not to be disturbed just now.
+
+VASILY LEONIDITCH. Oh, I suppose he's consulting a spirit whether to
+sell the land or not? Eh, what?
+
+THEODORE IVANITCH. I can't say. All I know is that be went away
+undecided about it.
+
+VASILY LEONIDITCH. What d'you think, Theodore Ivanitch, is he flush of
+cash? Eh, what?
+
+THEODORE IVANITCH. I don't know. I hardly think so. But what does it
+matter to you? You drew a good sum not more than a week ago.
+
+VASILY LEONIDITCH. But didn't I pay for those dogs? And now, you know,
+there's our new Society, and Petristchef has been chosen, and I had
+borrowed money from Petristchef and must pay the subscription both for
+him and for myself. Eh, what?
+
+THEODORE IVANITCH. And what is this new Society? A Cycling Club?
+
+VASILY LEONIDITCH. No. Just let me tell you. It is quite a new
+Society. It is a very serious Society, you know. And who do you think
+is President? Eh, what?
+
+THEODORE IVANITCH. What's the object of this new Society?
+
+VASILY LEONIDITCH. It is a "Society to Promote the Breeding of
+Pure-Bred Russian Hounds." Eh, what? And I'll tell you, they're
+having the first meeting and a lunch, to-day. And I've no money. I'll
+go to him and have a try!
+
+     [Exit through study door.
+
+FIRST PEASANT (to THEODORE IVANITCH). And who might he be, respected
+sir?
+
+THEODORE IVANITCH (smiles). The young master.
+
+THIRD PEASANT. The heir, so to say. Oh, Lord! (Puts away the money.)
+I'd better hide it meanwhile.
+
+FIRST PEASANT. And we were told he was in military service, in the
+cav'rely, for example.
+
+THEODORE IVANITCH. No, as an only son he is exempt from military
+service.
+
+THIRD PEASANT. Left for to keep his parents, so to say! That's right!
+
+SECOND PEASANT (shaking his head). He's the right sort. He'll feed
+them finely!
+
+THIRD PEASANT. Oh, Lord!
+
+     [Enter VASILY LEONIDITCH, followed by LEONID FYODORITCH.
+
+VASILY LEONIDITCH. That's always the way. It's really surprising!
+First I'm asked why I have no occupation, and now when I have found a
+field and am occupied, when a Society with serious and noble aims has
+been founded, I can't even have 300 roubles to go on with!...
+
+LEONID FYODORITCH. I tell you I can't do it, and I can't! I haven't
+got it.
+
+VASILY LEONIDITCH. Why, you have just sold some land.
+
+LEONID FYODORITCH. In the first place I have not sold it! And above
+all, do leave me in peace! Weren't you told I was engaged?
+
+     [Exit, slamming door.
+
+THEODORE IVANITCH. I told you this was not the right moment.
+
+VASILY LEONIDITCH. Well, I say! Here's a position to be in! I'll go
+and see mamma--that's my only hope. He's going crazy over his
+spiritualism and forgets everything else.
+
+     [Goes upstairs.
+
+     [THEODORE IVANITCH takes newspaper and is just going to sit down,
+      when BETSY and MARYA KONSTANTINOVNA, followed by GREGORY, come
+      down the stairs.
+
+BETSY. Is the carriage ready?
+
+GREGORY. Just coming to the door.
+
+BETSY (to MARYA KONSTANTINOVNA). Come along, come along, I know it is
+he.
+
+MARYA KONSTANTINOVNA. Which he?
+
+BETSY. You know very well whom I mean--Petristchef, of course.
+
+MARYA KONSTANTINOVNA. But where is he?
+
+BETSY. Sitting in Vovo's room. You'll see!
+
+MARYA KONSTANTINOVNA. And suppose it is not he?
+
+     [The PEASANTS and PORTER bow.
+
+BETSY (to PORTER). You brought a dress from Bourdier's?
+
+PORTER. Yes, Miss. May I go?
+
+BETSY. Well, I don't know. Ask my mother.
+
+PORTER. I don't know whose it is, Miss; I was ordered to bring it here
+and receive the money.
+
+BETSY. Well, then, wait.
+
+MARYA KONSTANTINOVNA. Is it still that costume for the charade?
+
+BETSY. Yes, a charming costume. But mamma won't take it or pay for it.
+
+MARYA KONSTANTINOVNA. But why not?
+
+BETSY. You'd better ask mamma. She doesn't grudge Vovo 500 roubles for
+his dogs, but 100 is too much for a dress. I can't act dressed like a
+scarecrow. (Pointing to PEASANTS.) And who are these?
+
+GREGORY. Peasants who have come to buy some land or other.
+
+BETSY. And I thought they were the beaters. Are you not beaters?
+
+FIRST PEASANT. No, no, lady. We have come to see Leonid Fyodoritch
+about the signing into our possession of the title-deeds to some land.
+
+BETSY. Then how is it? Vovo was expecting some beaters who were to
+come to-day. Are you sure you are not the beaters? (The PEASANTS are
+silent.) How stupid they are! (Goes to VASILY LEONIDITCH'S door.)
+Vovo?
+
+     [Laughs.
+
+MARYA KONSTANTINOVNA. But we met him just now upstairs!
+
+BETSY. Why need you remember that? Vovo, are you there?
+
+     [PETRISTCHEF enters.
+
+PETRISTCHEF. Vovo is not here, but I am prepared to fulfil on his
+behalf anything that may be required. How do you do? How do you do,
+Marya Konstantinovna?
+
+     [Shakes hands long and violently with BETSY, and then with MARYA
+      KONSTANTINOVNA.
+
+SECOND PEASANT. See, it's as if he were pumping water!
+
+BETSY. You can't replace him,--still you're better than nobody.
+(Laughs.) What are these affairs of yours with Vovo?
+
+PETRISTCHEF. What affairs? Our affairs are fie-nancial that is, our
+business is fie! It's also nancial, and besides it is financial.
+
+BETSY. What does nancial mean?
+
+PETRISTCHEF. What a question! It means nothing, that's just the point.
+
+BETSY. No, no, you have missed fire.
+
+     [Laughs.
+
+PETRISTCHEF. One can't always hit the mark, you know. It's something
+like a lottery. Blanks and blanks again, and at last you win!
+
+     [THEODORE IVANITCH goes into the study.
+
+BETSY. Well, this was blank then; but tell me, were you at the
+Mergasofs' last night?
+
+PETRISTCHEF. Not exactly at the Mere Gasof's, but rather at the Pere
+Gasof's, or better still, at the Fils Gasof's.
+
+BETSY. You can't do without puns. It's an illness. And were the
+Gypsies there? [3]
+
+     [Laughs.
+
+PETRISTCHEF (sings). "On their aprons silken threads, little birds
+with golden heads!"....
+
+BETSY. Happy mortals! And we were yawning at Fofo's.
+
+PETRISTCHEF (continues to sing). "And she promised and she swore, she
+would ope' her ... her ... her...." how does it go on, Marya
+Konstantinovna?
+
+MARYA KONSTANTINOVNA. "Closet door."
+
+PETRISTCHEF. How? What? How, Marya Konstantinovna?
+
+BETSY. Cessez, vous devenez impossible! [4]
+
+PETRISTCHEF. J'ai cesse, j'ai bebe, j'ai dede....[5]
+
+BETSY. I see the only way to rid ourselves of your wit is to make you
+sing! Let us go into Vovo's room, his guitar is there. Come, Marya
+Konstantinovna, come!
+
+     [Exeunt BETSY, MARYA KONSTANTINOVNA, and PETRISTCHEF.
+
+FIRST PEASANT. Who be they?
+
+GREGORY. One is our young lady, the other is a girl who teaches her
+music.
+
+FIRST PEASANT. Administrates learning, so to say. And ain't she smart?
+A reg'lar picture!
+
+SECOND PEASANT. Why don't they marry her? She is old enough, I should
+say.
+
+GREGORY. Do you think it's the same as among you peasants,--marry at
+fifteen?
+
+FIRST PEASANT. And that man, for example, is he also in the musitional
+line?
+
+GREGORY (mimicking him). "Musitional," indeed! You don't understand
+anything!
+
+FIRST PEASANT. That's just so. And stupidity, one might say, is our
+ignorance.
+
+THIRD PEASANT. Oh, Lord!
+
+     [Gypsy songs and guitar accompaniment are heard from VASILY
+      LEONIDITCH'S room.
+
+     [Enter SIMON, followed by TANYA, who watches the meeting between
+      father and son.
+
+GREGORY (to SIMON). What do you want?
+
+SIMON. I have been to Mr. Kaptchitch.
+
+GREGORY. Well, and what's the answer?
+
+SIMON. He sent word he couldn't possibly come to-night.
+
+GREGORY. All right, I'll let them know.
+
+     [Exit.
+
+SIMON (to his father). How d'you do, father! My respects to Daddy Efim
+and Daddy Mitry! How are all at home?
+
+SECOND PEASANT. Very well, Simon.
+
+FIRST PEASANT. How d'you do, lad?
+
+THIRD PEASANT. How d'you do, sonny?
+
+SIMON (smiles). Well, come along, father, and have some tea.
+
+SECOND PEASANT. Wait till we've finished our business. Don't you see
+we are not ready yet?
+
+SIMON. Well, I'll wait for you by the porch.
+
+     [Wishes to go away.
+
+TANYA (running after him). I say, why didn't you tell him anything?
+
+SIMON. How could I before all those people? Give me time, I'll tell
+him over our tea.
+
+     [Exit.
+
+     [THEODORE IVANITCH enters and sits down by the window.
+
+FIRST PEASANT. Respected sir, how's our business proceeding?
+
+THEODORE IVANITCH. Wait a bit, he'll be out presently, he's just
+finishing.
+
+TANYA (to THEODORE IVANITCH). And how do you know, Theodore Ivanitch,
+he is finishing?
+
+THEODORE IVANITCH. I know that when he has finished questioning, he
+reads the question and answer aloud.
+
+TANYA. Can one really talk with spirits by means of a saucer?
+
+THEODORE IVANITCH. It seems so.
+
+TANYA. But supposing they tell him to sign, will he sign?
+
+THEODORE IVANITCH. Of course he will.
+
+TANYA. But they do not speak with words?
+
+THEODORE IVANITCH. Oh, yes. By means of the alphabet. He notices at
+which letter the saucer stops.
+
+TANYA. Yes, but at a si-ance?....
+
+     [Enter LEONID FYODORITCH.
+
+LEONID FYODORITCH. Well, friends, I can't do it! I should be very glad
+to, but it is quite impossible. If it were for ready money it would be
+a different matter.
+
+FIRST PEASANT. That's just so. What more could any one desire? But the
+people are so inpennycuous--it is quite impossible!
+
+LEONID FYODORITCH. Well, I can't do it, I really can't. Here is your
+document; I can't sign it.
+
+THIRD PEASANT. Show some pity, master; be merciful!
+
+SECOND PEASANT. How can you act so? It is doing us a wrong.
+
+LEONID FYODORITCH. Nothing wrong about it, friends. I offered it you
+in summer, but then you did not agree; and now I can't agree to it.
+
+THIRD PEASANT. Master, be merciful! How are we to get along? We have
+so little land. We'll say nothing about the cattle; a hen, let's say,
+there's no room to let a hen run about.
+
+     [LEONID FYODORITCH goes up to the door and stops. Enter,
+      descending the staircase, ANNA PAVLOVNA and DOCTOR, followed by
+      VASILY LEONIDITCH, who is in a merry and playful mood and is
+      putting some bank-notes into his purse.
+
+ANNA PAVLOVNA (tightly laced, and wearing a bonnet). Then I am to take
+it?
+
+DOCTOR. If the symptoms recur you must certainly take it, but above
+all, you must behave better. How can you expect thick syrup to pass
+through a thin little hair tube, especially when we squeeze the tube?
+It's impossible; and so it is with the biliary duct. It's simple
+enough.
+
+ANNA PAVLOVNA. All right, all right!
+
+DOCTOR. Yes. "All right, all right," and you go on in the same old
+way. It won't do, madam--it won't do. Well, good-bye!
+
+ANNA PAVLOVNA. No, not good-bye, only au revoir! For I still expect
+you to-night. I shall not be able to make up my mind without you.
+
+DOCTOR. All right, if I have time I'll pop in.
+
+     [Exit.
+
+ANNA PAVLOVNA (noticing the PEASANTS). What's this? What? What people
+are these?
+
+     [PEASANTS bow.
+
+THEODORE IVANITCH. These are peasants from Koursk, come to see Leonid
+Fyodoritch about the sale of some land.
+
+ANNA PAVLOVNA. I see they are peasants, but who let them in?
+
+THEODORE IVANITCH. Leonid Fyodoritch gave the order. He has just been
+speaking to them about the sale of the land.
+
+ANNA PAVLOVNA. What sale? There is no need to sell any. But above all,
+how can one let in people from the street into the house? One can't
+let people in from the street! One can't let people into the house who
+have spent the night heaven knows where!... (Getting more and more
+excited.) I daresay every fold of their clothes is full of microbes--
+of scarlet-fever microbes, of smallpox microbes, of diphtheria
+microbes! Why, they are from Koursk Government, where there is an
+epidemic of diphtheria ... Doctor! Doctor! Call the doctor back!
+
+     [LEONID FYODORITCH goes into his room and shuts the door. GREGORY
+      goes to recall the DOCTOR.
+
+VASILY LEONIDITCH (smokes at the PEASANTS). Never mind, mamma; if you
+like I'll fumigate them so that all the microbes will go to pot! Eh,
+what?
+
+     [ANNA PAVLOVNA remains severely silent, awaiting the DOCTOR'S
+      return.
+
+VASILY LEONIDITCH (to PEASANTS). And do you fatten pigs? There's a
+first-rate business!
+
+FIRST PEASANT. That's just so. We do go in for the pig-fattening line
+now and then.
+
+VASILY LEONIDITCH. This kind?...
+
+     [Grunts like a pig.
+
+ANNA PAVLOVNA. Vovo, Vovo, leave off!
+
+VASILY LEONIDITCH. Isn't it like? Eh, what?
+
+FIRST PEASANT. That's just so. It's very resemblant.
+
+ANNA PAVLOVNA. Vovo, leave off, I tell you!
+
+SECOND PEASANT. What's it all about?
+
+THIRD PEASANT. I said, we'd better go to some lodging meanwhile!
+
+     [Enter DOCTOR and GREGORY.
+
+DOCTOR. What's the matter? What's happened?
+
+ANNA PAVLOVNA. Why, you're always saying I must not get excited. Now,
+how is it possible to keep calm? I do not see my own sister for two
+months, and am careful about any doubtful visitor--and here are people
+from Koursk, straight from Koursk, where there is an epidemic of
+diphtheria, right in my house!
+
+DOCTOR. These good fellows you mean, I suppose?
+
+ANNA PAVLOVNA. Of course. Straight from a diphtheric place!
+
+DOCTOR. Well, of course, if they come from an infected place it is
+rash; but still there is no reason to excite yourself so much about
+it.
+
+ANNA PAVLOVNA. But don't you yourself advise carefulness?
+
+DOCTOR. Of course, of course. Still, why excite yourself?
+
+ANNA PAVLOVNA. How can I help it? Now we shall have to have the house
+completely disinfected.
+
+DOCTOR. Oh, no! Why completely? That would cost 300 roubles or more.
+I'll arrange it cheaply and well for you. Take, to a large bottle of
+water....
+
+ANNA PAVLOVNA. Boiled?
+
+DOCTOR. It's all the same. Boiled would be better. To one bottle of
+water take a tablespoon of salicylic acid, and have everything they
+have come in contact with washed with the solution. As to the fellows
+themselves, they must be off, of course. That's all. Then you're quite
+safe. And it would do no harm to sprinkle some of the same solution
+through a spray--two or three tumblers--you'll see how well it will
+act. No danger whatever.
+
+ANNA PAVLOVNA. Tanya! Where is Tanya?
+
+     [Enter TANYA.
+
+TANYA. Did you call, M'm?
+
+ANNA PAVLOVNA. You know that big bottle in my dressing-room?
+
+TANYA. Out of which we sprinkled the laundress yesterday?
+
+ANNA PAVLOVNA. Well, of course! What other bottle could I mean? Well,
+then, take that bottle and first wash with soap the place where they
+have been standing, and then with....
+
+TANYA. Yes, M'm; I know how.
+
+ANNA PAVLOVNA. And then take the spray.... However, I had better do
+that myself when I get back.
+
+DOCTOR. Well, then, do so, and don't be afraid! Well, au revoir till
+this evening.
+
+     [Exit.
+
+ANNA PAVLOVNA. And they must be off! Not a trace of them must remain!
+Get out, get out! Go--what are you looking at?
+
+FIRST PEASANT. That's just so. It's because of our stupidity, as we
+were instructed....
+
+GREGORY (pushes the PEASANTS out). There, there; be off!
+
+SECOND PEASANT. Let me have my handkerchief back!
+
+     [The handkerchief in which the presents were wrapped.
+
+THIRD PEASANT. Oh, Lord, oh, Lord! didn't I say--some lodging-house
+meanwhile!
+
+     [GREGORY pushes him out. Exeunt PEASANTS.
+
+PORTER (who has repeatedly tried to say something).--Will there be any
+answer?
+
+ANNA PAVLOVNA. Ah, from Bourdier? (Excitedly.) None! None! You can
+take it back. I told her I never ordered such a costume, and I will
+not allow my daughter to wear it!
+
+PORTER. I know nothing about it. I was sent....
+
+ANNA PAVLOVNA. Go, go, take it back! I will call myself about it!
+
+VASILY LEONIDITCH (solemnly). Sir Messenger from Bourdier, depart!
+
+PORTER. I might have been told that long ago. I have sat here nearly
+five hours!
+
+VASILY LEONIDITCH. Ambassador from Bourdier, begone!
+
+ANNA PAVLOVNA. Cease, please!
+
+     [Exit PORTER.
+
+ANNA PAVLOVNA. Betsy! Where is she? I always have to wait for her.
+
+VASILY LEONIDITCH (shouting at the top of his voice). Betsy!
+PETRISTCHEF! Come quick, quick, quick! Eh? What?
+
+     [Enter PETRISTCHEF, BETSY, and MARYA KONSTANTINOVNA.
+
+ANNA PAVLOVNA. You always keep one waiting!
+
+BETSY. On the contrary, I was waiting for you!
+
+     [PETRISTCHEF bows with his head only, then kisses ANNA PAVLOVNA'S
+      hand.
+
+ANNA PAVLOVNA. How d'you do! (To BETSY.) You always have an answer
+ready!
+
+BETSY. If you are upset, mamma, I had better not go.
+
+ANNA PAVLOVNA. Are we going or not?
+
+BETSY. Well, let us go; it can't be helped.
+
+ANNA PAVLOVNA. Did you see the man from Bourdier?
+
+BETSY. Yes, and I was very glad. I ordered the costume, and am going
+to wear it when it is paid for.
+
+ANNA PAVLOVNA. I am not going to pay for a costume that is indecent!
+
+BETSY. Why has it become indecent? First it was decent, and now you
+have a fit of prudery.
+
+ANNA PAVLOVNA. Not prudery at all! If the bodice were completely
+altered, then it would do.
+
+BETSY. Mamma, that is quite impossible.
+
+ANNA PAVLOVNA. Well, get dressed.
+
+     [They sit down. GREGORY puts on their over-shoes for them.
+
+VASILY LEONIDITCH. Marya Konstantinovna, do you notice a vacuum in the
+hall?
+
+MARYA KONSTANTINOVNA. What is it?
+
+     [Laughs in anticipation.
+
+VASILY LEONIDITCH. Bourdier's man has gone! Eh, what? Good, eh?
+
+     [Laughs loudly.
+
+ANNA PAVLOVNA. Well, let us go. (Goes out of the door, but returns at
+once.) Tanya!
+
+TANYA. Yes, M'm?
+
+ANNA PAVLOVNA. Don't let Frisk catch cold while I am away. If she
+wants to be let out, put on her little yellow cloak. She is not quite
+well to-day.
+
+TANYA. Yes, M'm.
+
+     [Exeunt ANNA PAVLOVNA, BETSY, and GREGORY.
+
+PETRISTCHEF. Well, have you got it?
+
+VASILY LEONIDITCH. Not without trouble, I can tell you! First I rushed
+at the gov'nor; he began to bellow and turned me out. Off to the
+mater--I got it out of her. It's here! (Slaps his breast pocket.) If
+once I make up my mind, there's no getting away from me. I have a
+deadly grip! Eh, what? And d'you know, my wolf-hounds are coming
+to-day.
+
+     [PETRISTCHEF and VASILY LEONIDITCH put on their outdoor things
+      and go out. TANYA follows.
+
+THEODORE IVANITCH (alone). Yes, nothing but unpleasantness. How is it
+they can't live in peace? But one must say the new generation are not
+--the thing. And as to the women's dominion!... Why, Leonid Fyodoritch
+just now was going to put in a word, but seeing what a frenzy she was
+in--slammed the door behind him. He is a wonderfully kind-hearted man.
+Yes, wonderfully kind. What's this? Here's Tanya bringing them back
+again!
+
+TANYA. Come in, come in, grand-dads, never mind!
+
+     [Enter TANYA and the PEASANTS.
+
+THEODORE IVANITCH. Why have you brought them back?
+
+TANYA. Well, Theodore Ivanitch, we must do something about their
+business. I shall have to wash the place anyhow.
+
+THEODORE IVANITCH. But the business will not come off, I see that
+already.
+
+FIRST PEASANT. How could we best put our affair into action, respected
+sir? Your reverence might take a little trouble over it, and we should
+give you full thankings from the Commune for your trouble.
+
+THIRD PEASANT. Do try, honey! We can't live! We have so little land.
+Talk of cattle--why, we have no room to keep a hen!
+
+     [They bow.
+
+THEODORE IVANITCH. I am sorry for you, friends, but I can't think of
+any way to help you. I understand your case very well, but he has
+refused. So what can one do? Besides, the lady is also against it.
+Well, give me your papers--I'll try and see what I can do, but I
+hardly hope to succeed.
+
+     [Exit.
+
+     [TANYA and the three PEASANTS sigh.
+
+TANYA. But tell me, grand-dads, what is it that is wanted?
+
+FIRST PEASANT. Why, only that he should put his signature to our
+document.
+
+TANYA. That the master should sign? Is that all?
+
+FIRST PEASANT. Yes, only lay his signature on the deed and take the
+money, and there would be an end of the matter.
+
+THIRD PEASANT. He only has to write and sign, as the peasants, let's
+say, desire, so, let's say, I also desire. That's the whole affair--if
+he'd only take it and sign it, it's all done.
+
+TANYA (considering). He need only sign the paper and it's done?
+
+FIRST PEASANT. That's just so. The whole matter is in dependence on
+that, and nothing else. Let him sign, and we ask no more.
+
+TANYA. Just wait and see what Theodore Ivanitch will say. If he cannot
+persuade the master, I'll try something.
+
+FIRST PEASANT. Get round him, will you?
+
+TANYA. I'll try.
+
+THIRD PEASANT. Ay, the lass is going to bestir herself. Only get the
+thing settled, and the Commune will bind itself to keep you all your
+life. See there, now!
+
+FIRST PEASANT. If the affair can be put into action, truly we might
+put her in a gold frame.
+
+SECOND PEASANT. That goes without saying!
+
+TANYA. I can't promise for certain, but as the saying is: "An attempt
+is no sin, if you try...."
+
+FIRST PEASANT. "You may win." That's just so.
+
+     [Enter THEODORE IVANITCH.
+
+THEODORE IVANITCH. No, friends, it's no go! He has not done it, and he
+won't do it. Here, take your document. You may go.
+
+FIRST PEASANT (gives TANYA the paper). Then it's on you we pin all our
+reliance, for example.
+
+TANYA. Yes, yes! You go into the street, and I'll run out to you in a
+minute and have a word with you.
+
+     [Exeunt PEASANTS.
+
+TANYA. Theodore Ivanitch, dear Theodore Ivanitch, ask the master to
+come out and speak to me for a moment. I have something to say to him.
+
+THEODORE IVANITCH. What next?
+
+TANYA. I must, Theodore Ivanitch. Ask him, do; there's nothing wrong
+about it, on my sacred word.
+
+THEODORE IVANITCH. But what do you want with him?
+
+TANYA. That's a little secret. I will tell you later on, only ask him.
+
+THEODORE IVANITCH (smiling). I can't think what you are up to! All
+right, I'll go and ask him.
+
+     [Exit.
+
+TANYA. I'll do it! Didn't he say himself that there is that power in
+Simon? And I know how to manage. No one found me out that time, and
+now I'll teach Simon what to do. If it doesn't succeed it's no great
+matter. After all it's not a sin.
+
+     [Enter LEONID FYODORITCH, followed by THEODORE IVANITCH.
+
+LEONID FYODORITCH (smiling). Is this the petitioner? Well, what is
+your business?
+
+TANYA. It's a little secret, Leonid Fyodoritch; let me tell it you
+alone.
+
+LEONID FYODORITCH. What is it? Theodore, leave us for a minute.
+
+     [Exit THEODORE IVANITCH.
+
+TANYA. As I have grown up and lived in your house, Leonid Fyodoritch,
+and as I am very grateful to you for everything, I shall open my heart
+to you as to a father. Simon, who is living in your house, wants to
+marry me.
+
+LEONID FYODORITCH. So that's it!
+
+TANYA. I open my heart to you as to a father! I have no one to advise
+me, being an orphan.
+
+LEONID FYODORITCH. Well, and why not? He seems a nice lad.
+
+TANYA. Yes, that's true. He would be all right; there is only one
+thing I have my doubts about. It's something about him that I have
+noticed and can't make out ... perhaps it is something bad.
+
+LEONID FYODORITCH. What is it? Does he drink?
+
+TANYA. God forbid! But since I know that there is such a thing as
+spiritalism....
+
+LEONID FYODORITCH. Ah, you know that?
+
+TANYA. Of course! I understand it very well. Some, of course, through
+ignorance, don't understand it.
+
+LEONID FYODORITCH. Well, what then?
+
+TANYA. I am very much afraid for Simon. It does happen to him.
+
+LEONID FYODORITCH. What happens to him?
+
+TANYA. Something of a kind like spiritalism. You ask any of the
+servants. As soon as he gets drowsy at the table, the table begins to
+tremble, and creak like that: tuke, ... tuke! All the servants have
+heard it.
+
+LEONID FYODORITCH. Why, it's the very thing I was saying to Sergey
+Ivanitch this morning! Yes?...
+
+TANYA. Or else ... when was it?... Oh, yes, last Wednesday. We sat
+down to dinner, and the spoon just jumps into his hand of itself!
+
+LEONID FYODORITCH. Ah, that is interesting! Jumps into his hand? When
+he was drowsing?
+
+TANYA. That I didn't notice. I think he was, though.
+
+LEONID FYODORITCH. Yes?...
+
+TANYA. And that's what I'm afraid of, and what I wanted to ask you
+about. May not some harm come of it? To live one's life together, and
+him having such a thing in him!
+
+LEONID FYODORITCH (smiling). No, you need not be afraid, there is
+nothing bad in that. It only proves him to be a medium--simply a
+medium. I knew him to be a medium before this.
+
+TANYA. So that's what it is! And I was afraid!
+
+LEONID FYODORITCH. No, there's nothing to be afraid of. (Aside.)
+That's capital! Kaptchitch can't come, so we will test him
+to-night.... (To TANYA.) No, my dear, don't be afraid, he will be a
+good husband and ... that is only a kind of special power, and every
+one has it, only in some it is weaker and in others stronger.
+
+TANYA. Thank you, sir. Now I shan't think any more about it; but I was
+so frightened.... What a thing it is, our want of education!
+
+LEONID FYODORITCH. No, no, don't be frightened.... Theodore!
+
+     [Enter THEODORE IVANITCH.
+
+LEONID FYODORITCH. I am going out now. Get everything ready for
+to-night's seance.
+
+THEODORE IVANITCH. But Mr. Kaptchitch is not coming.
+
+LEONID FYODORITCH. That does not matter. (Puts on overcoat.) We shall
+have a trial seance with our own medium.
+
+     [Exit. THEODORE IVANITCH goes out with him.
+
+TANYA (alone). He believes it! He believes it! (Shrieks and jumps with
+joy.) He really believes it! Isn't it wonderful! (Shrieks.) Now I'll
+do it, if only Simon has pluck for it!
+
+     [THEODORE IVANITCH returns.
+
+THEODORE IVANITCH. Well, have you told him your secret?
+
+TANYA. I'll tell you, too, only later on.... But I have a favor to ask
+of you, too, Theodore Ivanitch.
+
+THEODORE IVANITCH. Yes? What is it?
+
+TANYA (shyly). You have been a second father to me, and I will open my
+heart before you as before God.
+
+THEODORE IVANITCH. Don't beat about the bush, but come straight to the
+point.
+
+TANYA. The point is ... well, the point is, that Simon wants to marry
+me.
+
+THEODORE IVANITCH. Is that it? I thought I noticed....
+
+TANYA. Well, why should I hide it? I am an orphan, and you know
+yourself how matters are in these town establishments. Every one comes
+bothering; there's that Gregory Mihaylitch, for instance, he gives me
+no peace. And also that other one ... you know. They think I have no
+soul, and am only here for their amusement.
+
+THEODORE IVANITCH. Good girl, that's right! Well, what then?
+
+TANYA. Well, Simon wrote to his father; and he, his father, sees me
+to-day, and says: "He's spoilt"--he means his son. Theodore Ivanitch
+(bows), take the place of a father to me, speak to the old man,--to
+Simon's father! I could take them into the kitchen, and you might come
+in and speak to the old man!
+
+THEODORE IVANITCH (smiling). Then I am to turn match-maker--am I?
+Well, I can do that.
+
+TANYA. Theodore Ivanitch, dearest, be a father to me, and I'll pray
+for you all my life long.
+
+THEODORE IVANITCH. All right, all right, I'll come later on. Haven't I
+promised?
+
+     [Takes up newspaper.
+
+TANYA. You are a second father to me!
+
+THEODORE IVANITCH. All right, all right.
+
+TANYA. Then I'll rely on you.
+
+     [Exit.
+
+THEODORE IVANITCH (alone, shaking his head). A good affectionate girl.
+To think that so many like her perish! Get but once into trouble and
+she'll go from hand to hand until she sinks into the mire, and can
+never be found again! There was that dear little Nataly. She, too, was
+a good girl, reared and cared for by a mother. (Takes up paper.) Well,
+let's see what tricks Ferdinand is up to in Bulgaria.
+
+CURTAIN
+
+
+
+
+ACT II
+
+Evening of the same day. The scene represents the interior of the
+servants' kitchen. The PEASANTS have taken off their outer garments
+and sit drinking tea at the table, and perspiring. THEODORE IVANITCH
+is smoking a cigar at the other side of the stage. The discharged COOK
+is lying on the brick oven, and is unseen during the early part of the
+scene.
+
+THEODORE IVANITCH. My advice is, don't hinder him! If it's his wish
+and hers, in Heaven's name, let him do it. She is a good, honest girl.
+Never mind her being a bit dressy; she can't help that, living in
+town: she is a good girl all the same.
+
+SECOND PEASANT. Well, of course, if it is his wish, let him! He'll
+have to live with her, not me. But she's certainly uncommon spruce.
+How's one to take her into one's hut? Why, she'll not let her
+mother-in-law so much as pat her on the head.
+
+THEODORE IVANITCH. That does not depend on the spruceness, but on
+character. If her nature is good, she's sure to be docile and
+respectful.
+
+SECOND PEASANT. Ah, well, we'll have her if the lad's bent on having
+her. After all, it's a bad job to live with one as one don't care for.
+I'll consult my missus, and then may Heaven bless them!
+
+THEODORE IVANITCH. Then let's shake hands on it!
+
+SECOND PEASANT. Well, it seems it will have to come off.
+
+FIRST PEASANT. Eh, Zachary! fortune's a-smiling on you! You've come to
+accomplish a piece of business, and just see what a duchess of a
+daughter-in-law you've obtained. All that's left to be done is to have
+a drink on it, and then it will be all in order.
+
+THEODORE IVANITCH. That's not at all necessary.
+
+     [An awkward silence.
+
+THEODORE IVANITCH. I know something of your way of life, too, you
+know. I am even thinking of purchasing a bit of land, building a
+cottage, and working on the land myself somewhere; maybe in your
+neighborhood.
+
+SECOND PEASANT. A very good thing, too.
+
+FIRST PEASANT. That's just it. When one has got the money one can get
+all kinds of pleasure in the country.
+
+THIRD PEASANT. Say no more about it! Country life let's say, is freer
+in every way, not like the town!
+
+THEODORE IVANITCH. There now, would you let me join your Commune if I
+settled among you?
+
+SECOND PEASANT. Why not? If you stand drink for the Elders, they'll
+accept you soon enough!
+
+FIRST PEASANT. And if you open a public-house, for example, or an inn,
+why, you'd have such a life you'd never need to die! You might live
+like a king, and no mistake.
+
+THEODORE IVANITCH. Well, we'll see. I should certainly like to have a
+few quiet years in my old age. Though my life here is good enough, and
+I should be sorry to leave. Leonid Fyodoritch is an exceedingly
+kind-hearted man.
+
+FIRST PEASANT. That's just it. But how about our business? Is it
+possible that he is going to leave it without any termination?
+
+THEODORE IVANITCH. He'd do it willingly.
+
+SECOND PEASANT. It seems he's afraid of his wife.
+
+THEODORE IVANITCH. It's not that he's afraid, but they don't hit
+things off together.
+
+THIRD PEASANT. But you should try, father! How are we to live else?
+We've so little land....
+
+THEODORE IVANITCH. We'll see what comes of Tanya's attempt. She's
+taken the business into her hands now!
+
+THIRD PEASANT (takes a sip of tea). Father, be merciful. We've so
+little land. A hen, let's say, we've no room for a hen, let alone the
+cattle.
+
+THEODORE IVANITCH. If the business depended on me.... (To SECOND
+PEASANT.) Well, friend, so we've done our bit of match-making! It's
+agreed then about Tanya?
+
+SECOND PEASANT. I've given my word, and I'll not go back on it without
+a good reason. If only our business succeeds!
+
+     [Enter SERVANTS' COOK, who looks up at the oven, makes a sign,
+      and then begins to speak animatedly to THEODORE IVANITCH.
+
+SERVANTS' COOK. Just now Simon was called upstairs from the front
+kitchen! The master and that other bald-headed one who calls up
+spirits with him, ordered him to sit down and take the place of
+Kaptchitch!
+
+THEODORE IVANITCH. You don't say so!
+
+SERVANTS' COOK. Yes, Jacob told Tanya.
+
+THEODORE IVANITCH. Extraordinary!
+
+     [Enter COACHMAN.
+
+THEODORE IVANITCH. What do you want?
+
+COACHMAN (to THEODORE IVANITCH). You may just tell them I never agreed
+to live with a lot of dogs! Let any one who likes do it, but I will
+never agree to live among dogs!
+
+THEODORE IVANITCH. What dogs?
+
+COACHMAN. Three dogs have been sent into our room by Vasily
+Leoniditch! They've messed it all over. They're whining, and if one
+comes near them they bite--the devils! They'd tear you to pieces if
+you didn't mind. I've a good mind to take a club and smash their legs
+for them!
+
+THEODORE IVANITCH. But when did they come?
+
+COACHMAN. Why, to-day, from the Dog Show; the devil knows what kind
+they are, but they're an expensive sort. Are we or the dogs to live in
+the coachmen's quarters? You just go and ask!
+
+THEODORE IVANITCH. Yes, that will never do. I'll go and ask about it.
+
+COACHMAN. They'd better be brought here to Loukerya.
+
+SERVANTS' COOK (angrily). People have to eat here, and you'd like to
+lock dogs in here! As it is....
+
+COACHMAN. And I've got the liveries, and the sledge-covers and the
+harness there, and they expect things kept clean! Perhaps the porter's
+lodge might do.
+
+THEODORE IVANITCH. I must ask Vasily Leoniditch.
+
+COACHMAN (angrily). He'd better hang the brutes round his neck and lug
+them about with him! But no fear: he'd rather ride on horseback
+himself. It's he as spoilt. Beauty without rhyme or reason. That was a
+horse!... Oh, dear! what a life!
+
+     [Exit, slamming door.
+
+THEODORE IVANITCH. That's not right! Certainly not right! (To
+PEASANTS.) Well, then, it's time we were saying good-bye, friends.
+
+PEASANTS. Good-bye!
+
+     [Exit THEODORE IVANITCH.
+
+     [As soon as he is gone a sound of groaning is heard from the top
+      of the oven.
+
+SECOND PEASANT. He's sleek, that one; looks like a general.
+
+SERVANTS' COOK. Rather! Why he has a room all to himself; he gets his
+washing, his tea and sugar, and food from the master's table.
+
+DISCHARGED COOK (on the oven). Why shouldn't the old beggar live well?
+He's lined his pockets all right!
+
+SECOND PEASANT. Who's that up there, on the oven?
+
+SERVANTS' COOK. Oh, it's only a man.
+
+     [Silence.
+
+FIRST PEASANT. Well, and you, too, as I noticed a while since when you
+were supping, have capital food to eat.
+
+SERVANTS' COOK. We can't complain. She's not mean about the food. We
+have wheat bread every Sunday, and fish when a holiday happens to be a
+fast-day, too, and those who like may eat meat.
+
+SECOND PEASANT. And does any one tuck into flesh on fast-days?
+
+SERVANTS' COOK. Oh, they nearly all do! Only the old coachman--not the
+one who was here just now but the old one--and Simon, and I and the
+housekeeper, fast--all the others eat meat.
+
+SECOND PEASANT. And the master himself?
+
+SERVANTS' COOK. Catch him! Why, I bet he's forgotten there is such a
+thing as fasting!
+
+THIRD PEASANT. Oh, Lord!
+
+FIRST PEASANT. That's the gentlefolks' way: they have got it all out
+of their books. 'Cos of their intelex!
+
+THIRD PEASANT. Shouldn't wonder if they feed on wheat bread every day!
+
+SERVANTS' COOK. Wheat bread, indeed! Much they think of wheat bread!
+You should see what food they eat. No end of different things!
+
+FIRST PEASANT. In course gentlefolks' food is of an airial kind.
+
+SERVANTS' COOK. Airial, of course, but all the same they're good at
+stuffing themselves, they are!
+
+FIRST PEASANT. Have healthy appekites, so to say.
+
+SERVANTS' COOK. 'Cos they always rinse it down! All with sweet wines,
+and spirits, and fizzy liquors. They have a different one to suit
+every kind of food. They eat and rinse it down, and eat and rinse it
+down, they do.
+
+FIRST PEASANT. And so the food's floated down in proportion, so to
+say.
+
+SERVANTS' COOK. Ah, yes, they are good at stuffing! It's awful! You
+see, it's not just sitting down, eating, then saying grace and going
+away--they're always at it!
+
+SECOND PEASANT. Like pigs with their feet in the trough!
+
+     [Peasants laugh.
+
+SERVANTS' COOK. As soon as, by God's grace, they have opened their
+eyes, the samovar is brought in--tea, coffee, chocolate. Hardly is the
+second samovar emptied, a third has to be set. Then lunch, then
+dinner, then again coffee. They've hardly left off, then comes tea,
+and all sorts of tit-bits and sweetmeats--there's never an end to it!
+They even lie in bed and eat!
+
+THIRD PEASANT. There now; that's good.
+
+     [Laughs.
+
+FIRST AND SECOND PEASANTS. What are you about?
+
+THIRD PEASANT. If I could only live a single day like that!
+
+SECOND PEASANT. But when do they do their work?
+
+SERVANTS' COOK. Work indeed! What is their work? Cards and piano--
+that's all their work. The young lady used to sit down to the piano as
+soon as she opened her eyes, and off she'd go! And that other one who
+lives here, the teacher, stands and waits. "When will the piano be
+free?" When one has finished, off rattles the other, and sometimes
+they'd put two pianos near one another and four of 'em would bust out
+at once. Bust out in such a manner, you could hear 'em down here!
+
+THIRD PEASANT. Oh, Lord!
+
+SERVANTS' COOK. Well, and that's all the work they do! Piano or cards!
+As soon as they have met together--cards, wine, smoking, and so on,
+all night long. And as soon as they are up: eating again!
+
+     [Enter SIMON.
+
+SIMON. Hope you're enjoying your tea!
+
+FIRST PEASANT. Come and join us.
+
+SIMON. (comes up to the table). Thank you kindly.
+
+     [First PEASANT pours out a cup of tea for him.
+
+SECOND PEASANT. Where have you been?
+
+SIMON. Upstairs.
+
+SECOND PEASANT. Well, and what was being done there?
+
+SIMON. Why, I couldn't make it out at all! I don't know how to explain
+it.
+
+SECOND PEASANT. But what was it?
+
+SIMON. I can't explain it. They have been trying some kind of strength
+in me. I can't make it out. Tanya says, "Do it, and we'll get the land
+for our peasants; he'll sell it them."
+
+SECOND PEASANT. But how is she going to manage it?
+
+SIMON. I can't make it out, and she won't say. She says, "Do as I tell
+you," and that's all.
+
+SECOND PEASANT. But what is it you have to do?
+
+SIMON. Nothing just now. They made me sit down, put out the lights and
+told me to sleep. And Tanya had hidden herself there. They didn't see
+her, but I did.
+
+SECOND PEASANT. Why? What for?
+
+SIMON. The Lord only knows--I can't make it out.
+
+FIRST PEASANT. Naturally, it is for the distraction of time.
+
+SECOND PEASANT. Well, it's clear you and I can make nothing of it. You
+had better tell me whether you have taken all your wages yet.
+
+SIMON. No, I've not drawn any. I have twenty-eight roubles to the
+good, I think.
+
+SECOND PEASANT. That's all right! Well, if God grants that we get the
+land, I'll take you home, Simon.
+
+SIMON. With all my heart!
+
+SECOND PEASANT. You've got spoilt, I should say. You'll not want to
+plough?
+
+SIMON. Plough? Only give me the chance! Plough or mow,--I'm game.
+Those are things one doesn't forget.
+
+FIRST PEASANT. But it don't seem very desirous after town life, for
+example? Eh!
+
+SIMON. It's good enough for me. One can live in the country, too.
+
+FIRST PEASANT. And Daddy Mitry here is already on the look-out for
+your place; he's hankering after a life of luckshury!
+
+SIMON. Eh, Daddy Mitry, you'd soon get sick of it. It seems easy
+enough when one looks at it, but there's a lot of running about that
+takes it out of one.
+
+SERVANTS' COOK. You should see one of their balls, Daddy Mitry, then
+you would be surprised!
+
+THIRD PEASANT. Why, do they eat all the time?
+
+SERVANTS' COOK. My eye! You should have seen what we had here awhile
+ago. Theodore Ivanitch took me upstairs and I peeped in. The ladies--
+awful! Dressed up! Dressed up, bless my heart, and all bare down to
+here, and their arms bare.
+
+THIRD PEASANT. Oh, Lord!
+
+SECOND PEASANT. Faugh! How beastly!
+
+FIRST PEASANT. I take it the climate allows of that sort of thing!
+
+SERVANTS' COOK. Well, daddy, so I peeped in. Dear me, what it was
+like! All of 'em in their natural skins! Would you believe it: old
+women--our mistress, only think, she's a grandmother, and even she'd
+gone and bared her shoulders.
+
+THIRD PEASANT. Oh, Lord!
+
+SERVANTS' COOK. And what next? The music strikes up, and each man of
+'em went up to his own, catches hold of her, and off they go twirling
+round and round!
+
+SECOND PEASANT. The old women, too?
+
+SERVANTS' COOK. Yes, the old ones, too.
+
+SIMON. No, the old ones sit still.
+
+SERVANTS' COOK. Get along,--I've seen it myself!
+
+SIMON. No, they don't.
+
+DISCHARGED COOK (in a hoarse voice, looking down from the oven).
+That's the Polka-Mazurka. You fools don't understand what dancing is.
+The way they dance....
+
+SERVANTS' COOK. Shut up, you dancer! And keep quiet--there's some one
+coming.
+
+     [Enter GREGORY; old COOK hides hurriedly.
+
+GREGORY (to SERVANTS' COOK). Bring some sour cabbage.
+
+SERVANTS' COOK. I am only just up from the cellar, and now I must go
+down again! Who is it for?
+
+GREGORY. For the young ladies. Be quick, and send it up with Simon. I
+can't wait!
+
+SERVANTS' COOK. There now, they tuck into sweetmeats till they are
+full up, and then they crave for sour cabbage!
+
+FIRST PEASANT. That's to make a clearance.
+
+SERVANTS' COOK. Of course, and as soon as there is room inside, they
+begin again!
+
+     [Takes basin, and exit.
+
+GREGORY (at PEASANTS). Look at them, how they've established
+themselves down here! Mind, if the mistress finds it out she'll give
+it you hot, like she did this morning!
+
+     [Exit, laughing.
+
+FIRST PEASANT. That's just it, she did raise a storm that time--awful!
+
+SECOND PEASANT. That time it looked as if the master was going to step
+in, but seeing that the missus was about to blow the very roof off the
+house, he slams the door. Have your own way, thinks he.
+
+THIRD PEASANT (waving his arm). It's the same everywhere. My old
+woman, let's say, she kicks up such a rumpus sometimes--it's just
+awful! Then I just get out of the hut. Let her go to Jericho! She'll
+give you one with the poker if you don't mind. Oh, Lord!
+
+     [JACOB enters hurriedly with a prescription.
+
+JACOB. Here, Simon, you run to the chemist's and get these powders for
+the mistress!
+
+SIMON. But master told me not to go out.
+
+JACOB. You've plenty of time; your business won't begin till after
+their tea. Hope you are enjoying your tea!
+
+FIRST PEASANT. Thanks, come and join us.
+
+     [Exit SIMON.
+
+JACOB. I haven't time. However, I'll just have one cup for company's
+sake.
+
+FIRST PEASANT. And we've just been having a conversation as to how
+your mistress carried on so haughty this morning.
+
+JACOB. Oh, she's a reg'lar fury! So hot-tempered, that she gets quite
+beside herself. Sometimes she even bursts out crying.
+
+FIRST PEASANT. Now, there's a thing I wanted to ask you about. What,
+for example, be these mikerots she was illuding to erewhile? "They've
+infested the house with mikerots, with mikerots," she says. What is
+one to make of these same mikerots?
+
+JACOB. Mikerogues, you mean! Well, it seems there is such a kind of
+bugs; all illnesses come from them, they say. So she says there are
+some of 'em on you. After you were gone, they washed and washed and
+sprinkled the place where you had stood. There's a kind of physic as
+kills these same bugs, they say. Second Peasant. Then where have we
+got these bugs on us?
+
+JACOB (drinking his tea). Why, they say they're so small that one
+can't see 'em even through a glass.
+
+SECOND PEASANT. Then how does she know I've got 'em on me? Perhaps
+there's more of that muck on her than on me!
+
+JACOB. There now, you go and ask her!
+
+SECOND PEASANT. I believe it's humbug.
+
+JACOB. Of course it's bosh. The doctors must invent something, or else
+what are they paid for? There's one comes to us every day. Comes,--
+talks a bit,--and pockets ten roubles!
+
+SECOND PEASANT. Nonsense!
+
+JACOB. Why, there's one as takes a hundred!
+
+FIRST PEASANT. A hundred? Humbug!
+
+JACOB. A hundred. Humbug, you say? Why, if he has to go out of town,
+he'll not do it for less than a thousand! "Give a thousand," he says,
+"or else you may kick the bucket for what I care!"
+
+THIRD PEASANT. Oh, Lord!
+
+SECOND PEASANT. Then does he know some charm?
+
+JACOB. I suppose he must. I served at a General's outside Moscow once:
+a cross, terrible proud old fellow he was--just awful. Well, this
+General's daughter fell ill. They send for that doctor at once. "A
+thousand roubles, then I'll come." Well, they agreed, and he came.
+Then they did something or other he didn't like, and he bawled out at
+the General and says, "Is this the way you show your respect for me?
+Then I'll not attend her!" And, oh, my! The old General forgot all his
+pride, and starts wheedling him in every way not to chuck up the job!
+
+FIRST PEASANT. And he got the thousand?
+
+JACOB. Of course!
+
+SECOND PEASANT. That's easy got money. What wouldn't a peasant do with
+such a sum!
+
+THIRD PEASANT. And I think it's all bosh. That time my foot was
+festering I had it doctored ever so long. I spent nigh on five roubles
+on it,--then I gave up doctoring, and it got all right!
+
+     [DISCHARGED COOK on the oven coughs.
+
+JACOB. Ah, the old crony is here again!
+
+FIRST PEASANT. Who might that man be?
+
+JACOB. He used to be our master's cook. He comes to see Loukerya.
+
+FIRST PEASANT. Kitchen-master, as one might say. Then, does he live
+here?
+
+JACOB. No, they won't allow that. He's here one day, there another. If
+he's got a copper he goes to a dosshouse; but when he has drunk all,
+he comes here.
+
+SECOND PEASANT. How did he come to this?
+
+JACOB. Simply grew weak. And what a man he used to be--like a
+gentleman! Went about with a gold watch; got forty roubles a month
+wages. And now look at him! He'd have starved to death long ago if it
+hadn't been for Loukerya.
+
+     [Enter SERVANTS' COOK with the sour cabbage.
+
+JACOB (to SERVANTS' COOK). I see you've got Paul Petrovitch here
+again?
+
+SERVANTS' COOK. And where's he to go to? Is he to go and freeze?
+
+THIRD PEASANT. What liquor does.... Liquor, let's say....
+
+     [Clicks his tongue sympathetically.
+
+SECOND PEASANT. Of course. A firm man's firm as a rock; a weak man's
+weaker than water.
+
+DISCHARGED COOK (gets off the oven with trembling hands and legs).
+Loukerya, I say, give us a drop!
+
+SERVANTS' COOK. What are you up to? I'll give you such a drop!...
+
+DISCHARGED COOK. Have you no conscience? I'm dying! Brothers, a
+copper....
+
+SERVANTS' COOK. Get back on the oven, I tell you!
+
+DISCHARGED COOK. Half a glass only, cook, for Heaven's sake! I say, do
+you understand? I ask you in the name of Heaven, now!
+
+SERVANTS' COOK. Come along, here's some tea for you.
+
+DISCHARGED COOK. Tea; what is tea? Weak, sloppy stuff. A little vodka
+--just one little drop.... Loukerya!
+
+THIRD PEASANT. Poor old soul, what agony it is!
+
+SECOND PEASANT. You'd better give him some.
+
+SERVANTS' COOK (gets out a bottle and fills a wine-glass). Here you
+are; you'll get no more.
+
+DISCHARGED COOK (clutches hold of it and drinks, trembling all over).
+Loukerya, Cook! I am drinking, and you must understand....
+
+SERVANTS' COOK. Now, then, stop your chatter! Get on to the oven, and
+let not a breath of you be heard!
+
+     [The old COOK meekly begins to climb up, muttering something to
+      himself.
+
+SECOND PEASANT. What it is, when a man gives way to his weakness!
+
+FIRST PEASANT. That's just it--human weakness.
+
+THIRD PEASANT. That goes without saying.
+
+     [The DISCHARGED COOK settles down, muttering all the time.
+
+     [Silence.
+
+SECOND PEASANT. I want to ask you something: that girl of Aksinya's as
+comes from our village and is living here. How is she? What is she
+like? How is she living--I mean, does she live honest?
+
+JACOB. She's a nice girl; one can say nothing but good of her.
+
+SERVANTS' COOK. I'll tell you straight, daddy; I know this here
+establishment out and out, and if you mean to have Tanya for your
+son's wife--be quick about it, before she comes to grief, or else
+she'll not escape!
+
+JACOB. Yes, that's true. A while ago we had a girl here, Nataly. She
+was a good girl too. And she was lost without rhyme or reason. No
+better than that chap!
+
+     [Pointing to the old COOK.
+
+SERVANTS' COOK. There's enough to dam a mill-pool, with the likes of
+us, as perish! 'Cos why, every one is tempted by the easy life and the
+good food. And see there,--as soon as one has tasted the good food she
+goes and slips. And once she's slipped, they don't want her, but get a
+fresh one in her place. So it was with dear little Nataly; she also
+slipped, and they turned her out. She had a child and fell ill, and
+died in the hospital last spring. And what a girl she used to be!
+
+THIRD PEASANT. Oh, Lord! People are weak; they ought to be pitied.
+
+DISCHARGED COOK. Those devils pity? No fear! (He hangs his legs down
+from the oven.) I have stood roasting myself by the kitchen range for
+thirty years, and now that I am not wanted, I may go and die like a
+dog.... Pity indeed!...
+
+FIRST PEASANT. That's just it. It's the old circumstances.
+
+SECOND PEASANT. While they drank and they fed, you were "curly head."
+When they'd finished the prog, 'twas "Get out, mangy dog!"
+
+THIRD PEASANT. Oh Lord!
+
+DISCHARGED COOK. Much you know. What is "Sautey a la Bongmont"? What
+is "Bavassary"? Oh, the things I could make! Think of it! The Emperor
+tasted my work, and now the devils want me no longer. But I am not
+going to stand it!
+
+SERVANTS' COOK. Now, then, stop that noise, mind.... Get up right into
+the corner, so that no one can see you, or else Theodore Ivanitch or
+some one may come in, and both you and me'll be turned out!
+
+     [Silence.
+
+JACOB. And do you know my part of the country? I'm from Voznesensky.
+
+SECOND PEASANT. Not know it? Why, it's no more'n ten miles from our
+village; not that across the ford! Do you cultivate any land there?
+
+JACOB. My brother does, and I send my wages. Though I live here, I am
+dying for a sight of home.
+
+FIRST PEASANT. That's just it.
+
+SECOND PEASANT. Then Anisim is your brother?
+
+JACOB. Own brother. He lives at the farther end of the village.
+
+SECOND PEASANT. Of course, I know; his is the third house.
+
+     [Enter TANYA, running.
+
+TANYA. Jacob, what are you doing, amusing yourself here? She is
+calling you!
+
+JACOB. I'm coming; but what's up?
+
+TANYA. Frisk is barking; it's hungry. And she's scolding you. "How
+cruel he is," she says. "He's no feeling," she says. "It's long past
+Frisk's dinner-time, and he has not brought her food!"
+
+     [Laughs.
+
+JACOB (rises to go). Oh, she's cross? What's going to happen now, I
+wonder?
+
+SERVANTS' COOK. Here, take the cabbage with you.
+
+JACOB. All right, give it here.
+
+     [Takes basin, and exit.
+
+FIRST PEASANT. Who is going to dine now?
+
+TANYA. Why, the dog! It's her dog. (Sits down and takes up the
+tea-pot.) Is there any more tea? I've brought some.
+
+     [Puts fresh tea into the tea-pot.
+
+FIRST PEASANT. Dinner for a dog?
+
+TANYA. Yes, of course! They prepare a special cutlet for her; it must
+not be too fat. And I do the washing--the dog's washing, I mean.
+
+THIRD PEASANT. Oh Lord!
+
+TANYA. It's like that gentleman who had a funeral for his dog.
+
+SECOND PEASANT. What's that?
+
+TANYA. Why, some one told me he had a dog--I mean the gentleman had a
+dog. And it died. It was winter, and he went in his sledge to bury
+that dog. Well, he buried it, and on the way home he sits and cries--
+the gentleman does. Well, there was such a bitter frost that the
+coachman's nose keeps running, and he has to keep wiping it. Let me
+fill your cup! (Fills it.) So he keeps wiping his nose, and the
+gentleman sees it, and says, "What are you crying about?" And the
+coachman, he says, "Why, sir, how can I help it; is there another dog
+like him?"
+
+     [Laughs.
+
+SECOND PEASANT. And I daresay he thinks to himself, "If your own self
+was to kick the bucket I'd not cry."
+
+     [Laughs.
+
+DISCHARGED COOK (from up on the oven). That is true; that's right!
+
+TANYA. Well, the gentleman, he gets home and goes straight to his
+lady: "What a good-hearted man our coachman is; he was crying all the
+way home about poor Dash. Have him called.... Here, drink this glass
+of vodka," he says, "and here's a rouble as a reward for you." That's
+just like her saying Jacob has no feelings for her dog!
+
+     [The PEASANTS laugh.
+
+FIRST PEASANT. That's the style!
+
+SECOND PEASANT. That was a go!
+
+THIRD PEASANT. Aye, lassie, but you've set us a-laughing!
+
+TANYA (pouring out more tea). Have some more! Yes, it only seems that
+our life is pleasant; but sometimes it is very disgusting,--clearing
+up all their messes! Faugh! It's better in the country. (PEASANTS turn
+their cups upside-down, as a polite sign that they have had enough.
+TANYA pours out more tea.) Have some more, Efim Antonitch. I'll fill
+your cup, Mitry Vlasitch.
+
+THIRD PEASANT. All right, fill it, fill it.
+
+FIRST PEASANT. Well, dear, and what progression is our business
+making?
+
+TANYA. It's getting on....
+
+FIRST PEASANT. Simon told us....
+
+TANYA. (quickly). Did he?
+
+SECOND PEASANT. But he could not make us understand.
+
+TANYA. I can't tell you now, but I'm doing my best--all I can! And
+I've got your paper here! (Shows the paper hidden under the bib of her
+apron.) If only one thing succeeds ... (Shrieks.) Oh, how nice it
+would be!
+
+SECOND PEASANT. Don't lose that paper, mind. It has cost money.
+
+TANYA. Never fear. You only want him to sign it? Is that all?
+
+THIRD PEASANT. Why, what else? Let's say he's signed it, and it's
+done! (Turns his cup upside-down.) I've had enough.
+
+TANYA (aside). He'll sign it; you'll see he will.... Have some more.
+
+     [Pours out tea.
+
+FIRST PEASANT. If only you get this business about the sale of the
+land settled, the Commune would pay your marriage expenses.
+
+     [Refuses the tea.
+
+TANYA (pouring out tea). Do have another cup.
+
+THIRD PEASANT. You get it done, and we'll arrange your marriage, and I
+myself, let's say, will dance at the wedding. Though I've never danced
+in all my born days, I'll dance then!
+
+TANYA (laughing). All right, I'll be in hopes of it.
+
+     [Silence.
+
+SECOND PEASANT (examines TANYA). That's all very well, but you're not
+fit for peasant work.
+
+TANYA. Who? I? Why, don't you think me strong enough? You should see
+me lacing up my mistress. There's many a peasant couldn't tug as hard.
+
+SECOND PEASANT. Where do you tug her to?
+
+TANYA. Well, there's a thing made with bone, like--something like a
+stiff jacket, only up to here! Well, and I pull the strings just as
+when you saddle a horse--when you ... what d'ye call it? You know,
+when you spit on your hands!
+
+SECOND PEASANT. Tighten the girths, you mean.
+
+TANYA. Yes, yes, that's it. And you know I mustn't shove against her
+with my knee.
+
+     [Laughs.
+
+SECOND PEASANT. Why do you pull her in?
+
+TANYA. For a reason!
+
+SECOND PEASANT. Why, is she doing penance?
+
+TANYA. No, it's for beauty's sake!
+
+FIRST PEASANT. That's to say, you pull in her paunch for appearance'
+sake.
+
+TANYA. Sometimes I lace her up so that her eyes are ready to start
+from her head, and she says, "Tighter," till my hands tingle. And you
+say I'm not strong!
+
+     [PEASANTS laugh and shake their heads.
+
+TANYA. But here, I've been jabbering.
+
+     [Runs away, laughing.
+
+THIRD PEASANT. Ah, the lassie has made us laugh!
+
+FIRST PEASANT. She's a tidy one!
+
+SECOND PEASANT. She's not bad.
+
+     [Enter SAHATOF and VASILY LEONIDITCH. SAHATOF holds a teaspoon in
+      his hand.
+
+VASILY LEONIDITCH. Not exactly a dinner, but a dejeuner dinatoire. And
+first-rate it was, I tell you. Ham of sucking-pig, delicious! Roulier
+feeds one splendidly! I've only just returned. (Sees PEASANTS.) Ah,
+the peasants are here again!
+
+SAHATOF. Yes, yes, that's all very well, but we came here to hide this
+article. Where shall we hide it?
+
+VASILY LEONIDITCH. Excuse me a moment. (To SERVANTS' COOK.) Where are
+the dogs?
+
+SERVANTS' COOK. In the coachman's quarters. You can't keep dogs in the
+servants' kitchen!
+
+VASILY LEONIDITCH. Ah, in the coachman's quarters? All right.
+
+SAHATOF. I am waiting.
+
+VASILY LEONIDITCH. Excuse me, please. Eh, what? Hide it? I'll tell you
+what. Let's put it into one of the peasants' pockets. That one. I say,
+where's your pocket? Eh, what?
+
+THIRD PEASANT. What for d'ye want my pocket? You're a good 'un! My
+pocket! There's money in my pocket!
+
+VASILY LEONIDITCH. Where's your bag, then?
+
+THIRD PEASANT. What for?
+
+SERVANTS' COOK. What d'you mean? That's the young master!
+
+VASILY LEONIDITCH (laughs. To SAHATOF). D'you know why he's so
+frightened? Shall I tell you? He's got a heap of money. Eh, what?
+
+SAHATOF. Yes, yes, I see. Well, you talk to them a bit, and I'll put
+it into that bag without being observed, so that they should not
+notice and could not point it out to him. Talk to them.
+
+VASILY LEONIDITCH. All right! (To PEASANTS.) Well then, old fellows,
+how about the land? Are you buying it? Eh, what?
+
+FIRST PEASANT. We have made an offering, so to say, with our whole
+heart. But there,--the business don't come into action nohow.
+
+VASILY LEONIDITCH. You should not be so stingy! Land is an important
+matter! I told you about planting mint. Or else tobacco would also do.
+
+FIRST PEASANT. That's just it. Every kind of producks.
+
+THIRD PEASANT. And you help us, master. Ask your father. Or else how
+are we to live? There's so little land. A fowl, let's say, there's not
+enough room for a fowl to run about.
+
+SAHATOF (having put the spoon into a bag belonging to the THIRD
+PEASANT). C'est fait. Ready. Come along.
+
+     [Exit.
+
+VASILY LEONIDITCH. So don't be stingy! Eh? Well, good-bye.
+
+     [Exit.
+
+THIRD PEASANT. Didn't I say, come to some lodging-house? Well,
+supposing we'd had to give three-pence each, then at least we'd have
+been in peace. As to here, the Lord be merciful! "Give us the money,"
+he says. What's that for?
+
+SECOND PEASANT. He's drunk, I daresay.
+
+     [PEASANTS turn their cups upside-down, rise, and cross themselves.
+
+FIRST PEASANT. And d'you mind what a saying he threw out? Sowing mint!
+One must know how to understand them, that one must!
+
+SECOND PEASANT. Sow mint indeed! He'd better bend his own back at that
+work, and then it's not mint he'll hanker after, no fear! Well, many
+thanks!... And now, good woman, would you tell us where we could lie
+down to sleep?
+
+SERVANTS' COOK. One of you can lie on the oven, and the others on
+these benches.
+
+THIRD PEASANT. Christ save you!
+
+     [Prays, crossing himself.
+
+FIRST PEASANT. If only by God's help we get our business settled!
+(Lies down.) Then to-morrow, after dinner, we'd be off by the train,
+and on Tuesday we'd be home again.
+
+SECOND PEASANT. Are you going to put out the light?
+
+SERVANTS' COOK. Put it out? Oh, no! They'll keep running down here,
+first for one thing then another.... You lie down, I'll lower it.
+
+SECOND PEASANT. How is one to live, having so little land? Why, this
+year, I have had to buy corn since Christmas. And the oat-straw is all
+used up. I'd like to get hold of ten acres, and then I could take
+Simon back.
+
+THIRD PEASANT. You're a man with a family. You'd get the land
+cultivated without trouble. If only the business comes off.
+
+SECOND PEASANT. We must pray to the Holy Virgin, maybe she'll help us
+out. (Silence, broken by sighs. Then footsteps and voices are heard
+outside. The door opens. Enter GROSSMAN hurriedly, with his eyes
+bandaged, holding SAHATOF'S hand, and followed by the PROFESSOR and
+the DOCTOR, the FAT LADY and LEONID FYODORITCH, BETSY and PETRISTCHEF,
+VASILY LEONIDITCH and MARYA KONSTANTINOVNA, ANNA PAVLOVNA and the
+BARONESS, THEODORE IVANITCH and TANYA.)
+
+     [PEASANTS jump up. GROSSMAN comes forward stepping quickly, then
+      stops.
+
+FAT LADY. You need not trouble yourselves; I have undertaken the task
+of observing, and am strictly fulfilling my duty! Mr. Sahatof, are you
+not leading him?
+
+SAHATOF. Of course not!
+
+FAT LADY. You must not lead him, but neither must you resist! (To
+LEONID FYODORITCH.) I know these experiments. I have tried them
+myself. Sometimes I used to feel a certain effluence, and as soon as I
+felt it....
+
+LEONID FYODORITCH. May I beg of you to keep perfect silence?
+
+FAT LADY. Oh, I understand so well! I have experienced it myself. As
+soon as my attention was diverted I could no longer....
+
+LEONID FYODORITCH. Sh...!
+
+     [GROSSMAN goes about, searches near the FIRST and SECOND
+      PEASANTS, then approaches the THIRD, and stumbles over a bench.
+
+BARONESS. Mais dites-moi, on le paye?[6]
+
+ANNA PAVLOVNA. Je ne saurais vous dire.
+
+BARONESS. Mais c'est un monsieur?
+
+ANNA PAVLOVNA. Oh, oui!
+
+BARONESS. Ca tient du miraculeux. N'est ce pas? Comment est-ce qu'il
+trouve?
+
+ANNA PAVLOVNA. Je ne saurais vous dire. Mon mari vous l'expliquera.
+(Noticing PEASANTS, turns round, and sees the SERVANTS' COOK.) Pardon
+... what is this?
+
+     [BARONESS goes up to the group.
+
+ANNA PAVLOVNA. (to SERVANTS' COOK). Who let the peasants in?
+
+SERVANTS' COOK. Jacob brought them in.
+
+ANNA PAVLOVNA. Who gave Jacob the order?
+
+SERVANTS' COOK. I can't say. Theodore Ivanitch has seen them.
+
+ANNA PAVLOVNA. Leonid!
+
+     [LEONID FYODORITCH does not hear, being absorbed in the search,
+      and says, Sh....
+
+ANNA PAVLOVNA. Theodore Ivanitch! What is the meaning of this? Did you
+not see me disinfecting the whole hall, and now the whole kitchen is
+infected, all the rye bread, the milk....
+
+THEODORE IVANITCH. I thought there would not be any danger if they
+came here. The men have come on business. They have far to go, and are
+from our village.
+
+ANNA PAVLOVNA. That's the worst of it! They are from the Koursk
+village, where people are dying of diphtheria like flies! But the
+chief thing is, I ordered them out of the house!... Did I, or did I
+not? (Approaches the others that have gathered round the PEASANTS.) Be
+careful! Don't touch them--they are all infected with diphtheria!
+
+     [No one heeds her, and she steps aside in a dignified manner and
+      stands quietly waiting.
+
+PETRISTCHEF (sniffs loudly). I don't know if it is diphtheria, but
+there is some kind of infection in the air. Don't you notice it?
+
+BETSY. Stop your nonsense! Vovo, which bag is it in?
+
+VASILY LEONIDITCH. That one, that one. He is getting near, very near!
+
+PETRISTCHEF. Is it spirits divine, or spirits of wine?
+
+BETSY. Now your cigarette comes in handy for once. Smoke closer,
+closer to me.
+
+     [PETRISTCHEF leans over her and smokes at her.
+
+VASILY LEONIDITCH. He's getting near, I tell you. Eh, what?
+
+GROSSMAN (searches excitedly round the THIRD PEASANT). It is here; I
+feel it is!
+
+FAT LADY. Do you feel an effluence?
+
+     [GROSSMAN stoops and finds the spoon in the bag.
+
+ALL. Bravo!
+
+     [General enthusiasm.
+
+VASILY LEONIDITCH. Ah! So that's where our spoon was. (To PEASANTS.)
+Then that's the sort you are!
+
+THIRD PEASANT. What sort? I didn't take your spoon! What are you
+making out? I didn't take it, and my soul knows nothing about it. I
+didn't take it--there! Let him do what he likes. I knew he came here
+for no good. "Where's your bag?" says he. I didn't take it, the Lord
+is my witness! (Crosses himself.) I didn't take it!
+
+     [The young people group round the PEASANT, laughing.
+
+LEONID FYODORITCH (angrily to his son). Always playing the fool! (To
+the THIRD PEASANT.) Never mind, friend! We know you did not take it;
+it was only an experiment.
+
+GROSSMAN (removes bandage from his eyes, and pretends to be coming
+to). Can I have a little water?
+
+     [All fuss round him.
+
+VASILY LEONIDITCH. Let's go straight from here into the coachman's
+room. I've got a bitch there--epatante![7]
+
+BETSY. What a horrid word! Couldn't you say dog?
+
+VASILY LEONIDITCH. No. I can't say--Betsy is a man, epatante. I should
+have to say young woman; it's a parallel case. Eh, what? Marya
+Konstantinovna, isn't it true? Good, eh?
+
+     [Laughs loudly.
+
+MARYA KONSTANTINOVNA. Well, let us go.
+
+     [Exeunt MARYA KONSTANTINOVNA, BETSY, PETRISTCHEF, and VASILY
+      LEONIDITCH.
+
+FAT LADY (to GROSSMAN). Well? how are you? Have you rested? (GROSSMAN
+does not answer. To SAHATOF.) And you, Mr. Sahatof, did you feel the
+effluence?
+
+SAHATOF. I felt nothing. Yes, it was very fine--very fine. Quite a
+success!
+
+BARONESS.--Admirable! Ca ne le fait pas souffrir? [8]
+
+LEONID FYODORITCH. Pas le moins du monde.
+
+PROFESSOR (to GROSSMAN). May I trouble you? (Hands him a thermometer.)
+At the beginning of the experiment it was 37 decimal 2 degrees. [9]
+(To DOCTOR.) That's right, I think? Would you mind feeling his pulse?
+Some loss is inevitable.
+
+DOCTOR (to GROSSMAN). Now then, sir, let's have your hand; we'll see,
+we'll see.
+
+     [Takes out his watch and feels GROSSMAN'S pulse.
+
+FAT LADY (to GROSSMAN). One moment! The condition you were in could
+not be called sleep?
+
+GROSSMAN (wearily). It was hypnosis.
+
+SAHATOF. In that case, are we to understand that you hypnotised
+yourself?
+
+GROSSMAN. And why not? An hypnotic state may ensue not only in
+consequence of association--the sound of the tom-tom, for instance, in
+Charcot's method--but by merely entering an hypnogenetic zone.
+
+SAHATOF. Granting that, it would still be desirable to define what
+hypnotism is, more exactly?
+
+PROFESSOR. Hypnotism is a phenomenon resulting from the transmutation
+of one energy into another.
+
+GROSSMAN. Charcot does not so define it.
+
+SAHATOF. A moment, just a moment! That is your definition, but
+Liebault told me himself....
+
+DOCTOR (lets go of GROSSMAN'S pulse). Ah, that's all right; well, now,
+the temperature?
+
+FAT LADY (interrupting). No, allow me! I agree with the Professor. And
+here's the very best proof. After my illness, when I lay insensible, a
+desire to speak came over me. In general I am of a silent disposition,
+but then I was overcome by this desire to speak, and I spoke and
+spoke, and I was told that I spoke in such a way that every one was
+astonished! (To SAHATOF.) But I think I interrupted you?
+
+SAHATOF (with dignity). Not at all. Pray continue.
+
+DOCTOR. Pulse 82, and the temperature has risen three-tenths of a
+degree.
+
+PROFESSOR. There you are! That's a proof! That's just as it should be.
+(Takes out pocket-book and writes.) 82, yes? And 37 and 5. When the
+hypnotic state is induced, it invariably produces a heightened action
+of the heart.
+
+DOCTOR. I can, as a medical man, bear witness that your prognosis was
+justified by the event.
+
+PROFESSOR (to SAHATOF). You were saying?...
+
+SAHATOF. I wished to say that Liebault told me himself that the
+hypnotic is only one particular psychical state, increasing
+susceptibility to suggestion.
+
+PROFESSOR. That is so, but still the law of equivalents is the chief
+thing.
+
+GROSSMAN. Moreover, Liebault is far from being an authority, while
+Charcot has studied the subject from all sides, and has proved that
+hypnotism produced by a blow, a trauma....
+
+     [All talking together--
+
+     SAHATOF. Yes, but I don't reject Charcot's labor. I know him
+     also, I am only repeating what Liebault told me...
+
+     GROSSMAN (excitedly). There are 3000 patients together in the
+     Salpetriere, and I have gone through the whole course.
+
+     PROFESSOR. Excuse me, gentlemen, but that is not the point.
+
+FAT LADY (interrupting). One moment, I will explain it to you in two
+words. When my husband was ill, all the doctors gave him up....
+
+LEONID FYODORITCH. However, we had better go upstairs again. Baroness,
+this way!
+
+     [Exeunt GROSSMAN, SAHATOF, PROFESSOR, DOCTOR, the FAT LADY, and
+      BARONESS, talking loudly and interrupting each other.
+
+ANNA PAVLOVNA (catching hold of LEONID FYODORITCH'S arm). How often
+have I asked you not to interfere in household matters! You think of
+nothing but your nonsense, and the whole house is on my shoulders. You
+will infect us all!
+
+LEONID FYODORITCH. What? How? I don't understand what you mean.
+
+ANNA PAVLOVNA. How? Why, people ill of diphtheria sleep in the
+kitchen, which is in constant communication with the whole house.
+
+LEONID FYODORITCH. Yes, but I....
+
+ANNA PAVLOVNA. What, I?
+
+LEONID FYODORITCH. I know nothing about it.
+
+ANNA PAVLOVNA. It's your duty to know, if you are the head of the
+family. Such things must not be done.
+
+LEONID FYODORITCH. But I never thought.... I thought....
+
+ANNA PAVLOVNA. It is sickening to listen to you!
+
+     [LEONID FYODORITCH remains silent.
+
+ANNA PAVLOVNA (to THEODORE IVANITCH). Turn them out at once! They are
+to leave my kitchen immediately! It is terrible! No one listens to me;
+they do it out of spite.... I turn them out from there, and they bring
+them in here! And with my illness.... (Gets more and more excited, and
+at last begins to cry.) Doctor! Doctor! Peter Petrovitch!... He's gone
+too!...
+
+     [Exit, sobbing, followed by LEONID FYODORITCH.
+
+     [All stand silent for a long time.
+
+THIRD PEASANT. Botheration take them all! If one don't mind, the
+police will be after one here. And I have never been to law in all my
+born days. Let's go to some lodging-house, lads!
+
+THEODORE IVANITCH. (to TANYA). What are we to do?
+
+TANYA. Never mind, Theodore Ivanitch, let them sleep with the
+coachman.
+
+THEODORE IVANITCH. How can we do that? The coachman was complaining as
+it is, that his place is full of dogs.
+
+TANYA. Well, then, the porter's lodge.
+
+THEODORE IVANITCH. And supposing it's found out?
+
+TANYA. It won't be found out! Don't trouble about that, Theodore
+Ivanitch. How can one turn them out now, at night? They'll not find
+anywhere to go to.
+
+THEODORE IVANITCH. Well, do as you please. Only they must go away from
+here.
+
+     [Exit.
+
+     [PEASANTS take their bags.
+
+DISCHARGED COOK. Oh those damned fiends! It's all their fat! Fiends!
+
+SERVANTS' COOK. You be quiet there. Thank goodness they didn't see
+you!
+
+TANYA. Well then, daddy, come along to the porter's lodge.
+
+FIRST PEASANT. Well, but how about our business? How, for example,
+about the applience of his hand to the signature? May we be in hopes?
+
+TANYA. We'll see in an hour's time.
+
+SECOND PEASANT. You'll do the trick?
+
+TANYA (laughs). Yes, God willing!
+
+CURTAIN
+
+
+
+
+ACT III
+
+Evening of the same day. The small drawing-room in LEONID FYODORITCH'S
+house, where the seances are always held. LEONID FYODORITCH and the
+PROFESSOR.
+
+LEONID FYODORITCH. Well then, shall we risk a seance with our new
+medium?
+
+PROFESSOR. Yes, certainly. He is a powerful medium, there is no doubt
+about it. And it is especially desirable that the seance should take
+place to-day with the same people. Grossman will certainly respond to
+the influence of the mediumistic energy, and then the connection and
+identity of the different phenomena will be still more evident. You
+will see then that, if the medium is as strong as he was just now,
+Grossman will vibrate.
+
+LEONID FYODORITCH. Then I will send for Simon and ask those who wish
+to attend to come in.
+
+PROFESSOR. Yes, all right! I will just jot down a few notes.
+
+     [Takes out his note-book and writes.
+
+     [Enter SAHATOF.
+
+SAHATOF. They have just settled down to whist in Anna Pavlovna's
+drawing-room, and as I am not wanted there--and as I am interested in
+your seance--I have put in an appearance here. But will there be a
+seance?
+
+LEONID FYODORITCH. Yes, certainly!
+
+SAHATOF. In spite of the absence of Mr. Kaptchitch's mediumistic
+powers?
+
+LEONID FYODORITCH. Vous avez la main heureuse. [10] Fancy, that very
+peasant whom I mentioned to you this morning turns out to be an
+undoubted medium.
+
+SAHATOF. Dear me! Yes, that is peculiarly interesting!
+
+LEONID FYODORITCH. Yes, we tried a few preliminary experiments with
+him just after dinner.
+
+SAHATOF. So you've had time already to experiment, and to convince
+yourself....
+
+LEONID FYODORITCH. Yes, perfectly! And he turns out to be an
+exceptionally powerful medium.
+
+SAHATOF (incredulously). Dear me!
+
+LEONID FYODORITCH. It turns out that it has long been noticed in the
+servants' hall. When he sits down to table, the spoon springs into his
+hand of its own accord! (To the PROFESSOR.) Had you heard about it?
+
+PROFESSOR. No, I had not heard that detail.
+
+SAHATOF (to the PROFESSOR). But still, you admit the possibility of
+such phenomena?
+
+PROFESSOR. What phenomena?
+
+SAHATOF. Well, spiritualistic, mediumistic, and supernatural phenomena
+in general.
+
+PROFESSOR. The question is, what do we consider supernatural? When,
+not a living man but a piece of stone attracted a nail to itself, how
+did the phenomena strike the first observers? As something natural? Or
+supernatural?
+
+SAHATOF. Well, of course; but phenomena such as the magnet attracting
+iron always repeat themselves.
+
+PROFESSOR. It is just the same in this case. The phenomenon repeats
+itself and we experiment with it. And not only that, but we apply to
+the phenomena we are investigating the laws common to other phenomena.
+These phenomena seem supernatural only because their causes are
+attributed to the medium himself. But that is where the mistake lies.
+The phenomena are not caused by the medium, but by psychic energy
+acting through a medium, and that is a very different thing. The whole
+matter lies in the law of equivalents.
+
+SAHATOF. Yes, certainly, but....
+
+     [Enter TANYA, who hides behind the hangings.
+
+LEONID FYODORITCH. Only remember that we cannot reckon on any results
+with certainty, with this medium any more than with Home or
+Kaptchitch. We may not succeed, but on the other hand we may even have
+perfect materialisation.
+
+SAHATOF. Materialisation even? What do you mean by materialisation?
+
+LEONID FYODORITCH. Why, I mean that some one who is dead--say, your
+father or your grandfather--may appear, take you by the hand, or give
+you something; or else some one may suddenly rise into the air, as
+happened to Alexey Vladimiritch last time.
+
+PROFESSOR. Of course, of course. But the chief thing is the
+explanation of the phenomena, and the application to them of general
+laws.
+
+     [Enter the FAT LADY.
+
+FAT LADY. Anna Pavlovna has allowed me to join you.
+
+LEONID FYODORITCH. Very pleased.
+
+FAT LADY. Oh, how tired Grossman seems! He could scarcely hold his
+cup. Did you notice (to the PROFESSOR) how pale he turned at the
+moment he approached the hiding-place? I noticed it at once, and was
+the first to mention it to Anna Pavlovna.
+
+PROFESSOR. Undoubtedly,--loss of vital energy.
+
+FAT LADY. Yes, it's just as I say, one should not abuse that sort of
+thing. You know, a hypnotist once suggested to a friend of mine, Vera
+Konshin (oh, you know her, of course)--well, he suggested that she
+should leave off smoking,--and her back began to ache!
+
+PROFESSOR (trying to have his say). The temperature and the pulse
+clearly indicate....
+
+FAT LADY. One moment! Allow me! Well, I said to her: it's better to
+smoke than to suffer so with one's nerves. Of course, smoking is
+injurious; I should like to give it up myself, but, do what I will, I
+can't! Once I managed not to smoke for a fortnight, but could hold out
+no longer.
+
+PROFESSOR (again trying to speak). Clearly proves....
+
+FAT LADY. Yes, no! Allow me, just one word! You say, "loss of
+strength." And I was also going to say that, when I travelled with
+post-horses ... the roads used to be dreadful in those days--you
+don't remember--but I have noticed that all our nervousness comes from
+railways! I, for instance, can't sleep while travelling; I cannot fall
+asleep to save my life!
+
+PROFESSOR (makes another attempt, which the FAT LADY baffles). The
+loss of strength....
+
+SAHATOF (smiling). Yes; oh yes!
+
+     [LEONID FYODORITCH rings.
+
+FAT LADY. I am awake one night, and another, and a third, and still I
+can't sleep!
+
+     [Enter GREGORY.
+
+LEONID FYODORITCH. Please tell Theodore to get everything ready for
+the seance, and send Simon here--Simon, the butler's assistant,--do
+you hear?
+
+GREGORY. Yes, sir.
+
+     [Exit.
+
+PROFESSOR (to SAHATOF). The observation of the temperature and the
+pulse have shown loss of vital energy. The same will happen in
+consequence of the mediumistic phenomena. The law of the conservation
+of energy....
+
+FAT LADY. Oh yes, yes; I was just going to say that I am very glad
+that a simple peasant turns out to be a medium. That's very good. I
+always did say that the Slavophils....
+
+LEONID FYODORITCH. Let's go into the drawing-room in the meantime.
+
+FAT LADY. Allow me, just one word! The Slavophils are right; but I
+always told my husband that one ought never to exaggerate anything!
+"The golden mean," you know. What is the use of maintaining that the
+common people are all perfect, when I have myself seen....
+
+LEONID FYODORITCH. Won't you come into the drawing-room?
+
+FAT LADY. A boy--that high--who drank! I gave him a scolding at once.
+And he was grateful to me afterwards. They are children, and, as I
+always say, children need both love and severity!
+
+     [Exeunt all, all talking together.
+
+     [TANYA enters from behind the hangings.
+
+TANYA. Oh, if it would only succeed!
+
+     [Begins fastening some threads.
+
+     [Enter BETSY hurriedly.
+
+BETSY. Isn't papa here? (Looks inquiringly at TANYA.) What are you
+doing here?
+
+TANYA. Oh, Miss Elizabeth, I have only just come; I only wished ...
+only came in....
+
+     [Embarrassed.
+
+BETSY. But they are going to have a seance here directly (Notices
+TANYA drawing in the threads, looks at her, and suddenly bursts out
+laughing.) Tanya! Why, it's you who do it all? Now don't deny it. And
+last time it was you too? Yes, it was, it was!
+
+TANYA. Miss Elizabeth, dearest!
+
+BETSY (delighted). Oh, that is a joke! Well, I never. But why do you
+do it?
+
+TANYA. Oh miss, dear miss, don't betray me!
+
+BETSY. Not for the world! I'm awfully glad. Only tell me how you
+manage it?
+
+TANYA. Well, I just hide, and then, when it's all dark, I come out and
+do it. That's how.
+
+BETSY (pointing to threads). And what is this for? You needn't tell
+me. I see; you draw....
+
+TANYA. Miss Elizabeth, darling! I will confess it, but only to you. I
+used to do it just for fun, but now I mean business.
+
+BETSY. What? How? What business?
+
+TANYA. Well, you see, those peasants that came this morning, you saw
+them. They want to buy some land, and your father won't sell it; well,
+and Theodore Ivanitch, he says it's the spirits as forbid him. So I
+have had a thought as....
+
+BETSY. Oh, I see! Well, you are a clever girl! Do it, do it.... But
+how will you manage it?
+
+TANYA. Well, I thought, when they put out the lights, I'll at once
+begin knocking and shying things about, touching their heads with the
+threads, and at last I'll take the paper about the land and throw it
+on the table. I've got it here.
+
+BETSY. Well, and then?
+
+TANYA. Why, don't you see? They will be astonished. The peasants had
+the paper, and now it's here. I will teach....
+
+BETSY. Why, of course! Simon is the medium to-day!
+
+TANYA. Well, I'll teach him.... (Laughs so that she can't continue.)
+I'll tell him to squeeze with his hands any one he can get hold of! Of
+course, not your father--he'd never dare do that--but any one else;
+he'll squeeze till it's signed.
+
+BETSY (laughing). But that's not the way it is done. Mediums never do
+anything themselves.
+
+TANYA. Oh, never mind. It's all one; I daresay it'll turn out all
+right.
+
+     [Enter THEODORE IVANITCH.
+
+     [Exit BETSY, making signs to TANYA.
+
+THEODORE IVANITCH. Why are you here?
+
+TANYA. It's you I want, Theodore Ivanitch, dear....
+
+THEODORE IVANITCH. Well, what is it?
+
+TANYA. About that affair of mine as I spoke of.
+
+THEODORE IVANITCH (laughs). I've made the match; yes, I've made the
+match. The matter is settled; we have shaken hands on it, only not had
+a drink on it.
+
+TANYA (with a shriek). Never! So it's all right?
+
+THEODORE IVANITCH. Don't I tell you so? He says, "I shall consult the
+missus, and then, God willing...."
+
+TANYA. Is that what he said? (Shrieks.) Dear Theodore Ivanitch, I'll
+pray for you all the days of my life!
+
+THEODORE IVANITCH. All right! All right! Now is not the time. I've
+been ordered to arrange the room for the seance.
+
+TANYA. Let me help you. How's it to be arranged?
+
+THEODORE IVANITCH. How? Why, the table in the middle of the room--
+chairs--the guitar--the accordion. The lamp is not wanted, only
+candles.
+
+TANYA (helps THEODORE IVANITCH to place the things). Is that right?
+The guitar here, and here the inkstand. (Places it.) So?
+
+THEODORE IVANITCH. Can it be true that they'll make Simon sit here?
+
+TANYA. I suppose so; they've done it once.
+
+THEODORE IVANITCH. Wonderful! (Puts on his pince-nez.) But is he
+clean?
+
+TANYA. How should I know?
+
+THEODORE IVANITCH. Then, I'll tell you what....
+
+TANYA. Yes, Theodore Ivanitch?
+
+THEODORE IVANITCH. Go and take a nail-brush and some Pears' soap; you
+may take mine ... and go and cut his claws and scrub his hands as
+clean as possible.
+
+TANYA. He can do it himself.
+
+THEODORE IVANITCH. Well then, tell him to. And tell him to put on a
+clean shirt as well.
+
+TANYA. All right, Theodore Ivanitch.
+
+     [Exit.
+
+THEODORE IVANITCH (sits down in an easy-chair). They're educated and
+learned--Alexey Vladimiritch now, he's a professor--and yet sometimes
+one can't help doubting very much. The people's rude superstitions are
+being abolished: hobgoblins, sorcerers, witches.... But if one
+considers it, is not this equally superstitious? How is it possible
+that the souls of the dead should come and talk, and play the guitar?
+No! Some one is fooling them, or they are fooling themselves. And as
+to this business with Simon--it's simply incomprehensible. (Looks at
+an album.) Here's their spiritualistic album. How is it possible to
+photograph a spirit? But here is the likeness of a Turk and Leonid
+Fyodoritch sitting by.... Extraordinary human weakness!
+
+     [Enter LEONID FYODORITCH.
+
+LEONID FYODORITCH. Is it all ready?
+
+THEODORE IVANITCH (rising leisurely). Quite ready. (Smiles.) Only I
+don't know about your new medium. I hope he won't disgrace you, Leonid
+Fyodoritch.
+
+LEONID FYODORITCH. No, I and Alexey Vladimiritch have tested him. He
+is a wonderfully powerful medium!
+
+THEODORE IVANITCH. Well, I don't know. But is he clean enough? I don't
+suppose you have thought of ordering him to wash his hands? It might
+be rather inconvenient.
+
+LEONID FYODORITCH. His hands? Oh yes! They're not clean, you think?
+
+THEODORE IVANITCH. What can you expect? He's a peasant, and there will
+be ladies present, and Marya Vasilevna.
+
+LEONID FYODORITCH. It will be all right.
+
+THEODORE IVANITCH. And then I have something to report to you.
+Timothy, the coachman, complains that he can't keep things clean
+because of the dogs.
+
+LEONID FYODORITCH (arranging the things on the table absentmindedly).
+What dogs?
+
+THEODORE IVANITCH. The three hounds that came for Vasily Leoniditch
+to-day.
+
+LEONID FYODORITCH (vexed). Tell Anna Pavlovna! She can do as she likes
+about it. I have no time.
+
+THEODORE IVANITCH. But you know her weakness....
+
+LEONID FYODORITCH. 'Tis just as she likes, let her do as she pleases.
+As for him,--one never gets anything but unpleasantness from him.
+Besides, I am busy.
+
+     [Enter SIMON, smiling; he has a sleeveless peasant's coat on.
+
+SIMON. I was ordered to come.
+
+LEONID FYODORITCH. Yes, it's all right. Let me see your hands. That
+will do, that will do very well! Well, then, my good fellow, you must
+do just as you did before,--sit down, and give way to your mood. But
+don't think at all.
+
+SIMON. Why should I think? The more one thinks, the worse it is.
+
+LEONID FYODORITCH. Just so, just so, exactly! The less conscious one
+is, the greater is the power. Don't think, but give in to your mood.
+If you wish to sleep, sleep; if you wish to walk, walk. Do you
+understand?
+
+SIMON. How could one help understanding? It's simple enough.
+
+LEONID FYODORITCH. But above all, don't be frightened. Because you
+might be surprised yourself. You must understand that just as we live
+here, so a whole world of invisible spirits live here also.
+
+THEODORE IVANITCH (improving on what LEONID FYODORITCH has said).
+Invisible feelings, do you understand?
+
+SIMON (laughs). How can one help understanding! It's very plain as you
+put it.
+
+LEONID FYODORITCH. You may rise up in the air, or something of the
+kind, but don't be frightened.
+
+SIMON. Why should I be frightened? That won't matter at all.
+
+LEONID FYODORITCH. Well then, I'll go and call them all.... Is
+everything ready?
+
+THEODORE IVANITCH. I think so.
+
+LEONID FYODORITCH. But the slates?
+
+THEODORE IVANITCH. They are downstairs. I'll bring them.
+
+     [Exit.
+
+LEONID FYODORITCH. All right then. So don't be afraid, but be at your
+ease.
+
+SIMON. Had I not better take off my coat? One would be more easy like.
+
+LEONID FYODORITCH. Your coat? Oh no. Don't take that off.
+
+     [Exit.
+
+SIMON. She tells me to do the same again, and she will again shy
+things about. How isn't she afraid?
+
+     [Enter TANYA in her stockings and in a dress of the color of the
+      wall-paper. SIMON laughs.
+
+TANYA. Shsh!... They'll hear! There, stick these matches on your
+fingers as before. (Sticks them on.) Well, do you remember everything?
+
+SIMON (bending his fingers in, one by one). First of all, wet the
+matches and wave my hands about, that's one. Then make my teeth
+chatter, like this ... that's two. But I've forgotten the third thing.
+
+TANYA. And it's the third as is the chief thing. Don't forget as soon
+as the paper falls on the table--I shall ring the little bell--then
+you do like this.... Spread your arms out far and catch hold of some
+one, whoever it is as sits nearest, and catch hold of him. And then
+squeeze! (Laughs.) Whether it's a gentleman or a lady, it's all one,
+you just squeeze 'em, and don't let 'em go,--as if it were in your
+sleep, and chatter with your teeth, or else howl like this. (Howls
+sotto-voce.) And when I begin to play on the guitar, then stretch
+yourself as if you were waking up, you know.... Will you remember
+everything?
+
+SIMON. Yes, I'll remember, but it is too funny.
+
+TANYA. But mind you don't laugh. Still, it won't matter much if you do
+laugh; they'd think it was in your sleep. Only take care you don't
+really fall asleep when they put out the lights.
+
+SIMON. No fear, I'll pinch my ears.
+
+TANYA. Well, then, Sim, darling, only mind do as I tell you, and don't
+get frightened. He'll sign the paper, see if he don't! They're coming!
+
+     [Gets under the sofa.
+
+     [Enter GROSSMAN and the PROFESSOR, LEONID FYODORITCH and the FAT
+      LADY, the DOCTOR, SAHATOF and ANNA PAVLOVNA. SIMON stands near
+      the door.
+
+LEONID FYODORITCH. Please come in, all you doubters! Though we have a
+new and accidentally discovered medium, I expect very important
+phenomena to-night.
+
+SAHATOF. That's very, very interesting.
+
+FAT LADY (pointing to SIMON). Mais il est tres bien! [11]
+
+ANNA PAVLOVNA. Yes, as a butler's assistant, but hardly....
+
+SAHATOF. Wives never have any faith in their husbands' work. You don't
+believe in anything of this kind?
+
+ANNA PAVLOVNA. Of course not. Kaptchitch, it is true, has something
+exceptional about him, but Heaven knows what all this is about!
+
+FAT LADY. No, Anna Pavlovna, permit me, you can't decide it in such a
+way. Before I was married, I once had a remarkable dream. Dreams, you
+know, are often such that you don't know where they begin and where
+they end; it was just such a dream that I....
+
+     [Enter VASILY LEONIDITCH and PETRISTCHEF.
+
+FAT LADY. And much was revealed to me by that dream. Nowadays the
+young people (points to PETRISTCHEF and VASILY LEONIDITCH) deny
+everything.
+
+VASILY LEONIDITCH. But look here, you know--now I, for instance, never
+deny anything! Eh, what?
+
+     [BETSY and MARYA KONSTANTINOVNA enter, and begin talking to
+      PETRISTCHEF.
+
+FAT LADY. And how can one deny the supernatural? They say it is
+unreasonable. But what if one's reason is stupid; what then? There
+now, on Garden Street, you know ... why, well, it appeared every
+evening! My husband's brother--what do you call him? Not beau-frere--
+what's the other name for it?--I never can remember the names of these
+different relationships--well, he went there three nights running, and
+still he saw nothing; so I said to him....
+
+LEONID FYODORITCH. Well, who is going to stay here?
+
+FAT LADY. I! I!
+
+SAHATOF. I.
+
+ANNA PAVLOVNA (to DOCTOR). Do you mean to say you are going to stay?
+
+DOCTOR. Yes; I must see, if only once, what it is that Alexey
+Vladimiritch has discovered in it. How can we deny anything without
+proof?
+
+ANNA PAVLOVNA. Then I am to take it to-night for certain?
+
+DOCTOR. Take what?... Oh, the powder. Yes, it would perhaps be better.
+Yes, yes, take it.... However, I shall come upstairs again.
+
+ANNA PAVLOVNA. Yes, please do. (Loud.) When it is over, mesdames et
+messieurs, I shall expect you to come to me upstairs to rest from your
+emotions, and then we will finish our rubber.
+
+FAT LADY. Oh, certainly.
+
+SAHATOF. Yes, thanks!
+
+     [Exit ANNA PAVLOVNA.
+
+BETSY (to PETRISTCHEF). You must stay, I tell you. I promise you
+something extraordinary. Will you bet?
+
+MARYA KONSTANTINOVNA. But you don't believe in it?
+
+BETSY. To-day I do.
+
+MARYA KONSTANTINOVNA (to PETRISTCHEF). And do you believe?
+
+PETRISTCHEF. "I can't believe, I cannot trust a heart for falsehood
+framed." Still, if Elizabeth Leonidovna commands....
+
+VASILY LEONIDITCH. Let us stay, Marya Konstantinovna. Eh, what? I
+shall invent something epatant.
+
+MARYA KONSTANTINOVNA. No, you mustn't make me laugh. You know I can't
+restrain myself.
+
+VASILY LEONIDITCH (loud). I remain!
+
+LEONID FYODORITCH (severely). But I beg those who remain not to joke
+about it. It is a serious matter.
+
+PETRISTCHEF. Do you hear? Well then, let's stay. Vovo, sit here, and
+don't be too shy.
+
+BETSY. Yes, it's all very well for you to laugh; but just wait till
+you see what will happen.
+
+VASILY LEONIDITCH. Oh, but supposing it's true? Won't it be a go! Eh,
+what?
+
+PETRISTCHEF (trembles). Oh, I'm afraid, I'm afraid! Marya
+Konstantinovna, I'm afraid! My tootsies tremble.
+
+BETSY (laughing). Not so loud.
+
+     [All sit down.
+
+LEONID FYODORITCH. Take your seats, take your seats. Simon, sit down!
+
+SIMON. Yes, sir.
+
+     [Sits down on the edge of the chair.
+
+LEONID FYODORITCH. Sit properly.
+
+PROFESSOR. Sit straight in the middle of the chair, and quite at your
+ease.
+
+     [Arranges SIMON on his chair.
+
+     [BETSY, MARYA KONSTANTINOVNA and VASILY LEONIDITCH laugh.
+
+LEONID FYODORITCH (raising his voice). I beg those who are going to
+remain here not to behave frivolously, but to regard this matter
+seriously, or bad results might follow. Do you hear, Vovo! If you
+can't be quiet, go away!
+
+VASILY LEONIDITCH. Quiet, quiet!
+
+     [Hides behind FAT LADY.
+
+LEONID FYODORITCH. Alexey Vladimiritch, will you mesmerise him?
+
+PROFESSOR. No; why should I do it when Anton Borisitch is here? He has
+had far more practice and has more power in that department than I ...
+Anton Borisitch!
+
+GROSSMAN. Ladies and gentlemen, I am not, strictly speaking, a
+spiritualist. I have only studied hypnotism. It is true I have studied
+hypnotism in all its known manifestations; but what is called
+spiritualism, is entirely unknown to me. When a subject is thrown into
+a trance, I may expect the hypnotic phenomena known to me: lethargy,
+abulia, anaesthesia, analgesia, catalepsy, and every kind of
+susceptibility to suggestion. Here it is not these but other phenomena
+we expect to observe. Therefore it would be well to know of what kind
+are the phenomena we expect to witness, and what is their scientific
+significance.
+
+SAHATOF. I thoroughly agree with Mr. Grossman. Such an explanation
+would be very interesting.
+
+LEONID FYODORITCH. I think Alexey Vladimiritch will not refuse to give
+us a short explanation.
+
+PROFESSOR. Why not? I can give an explanation if it is desired. (To
+the DOCTOR.) Will you kindly note his temperature and pulse? My
+explanation must, of necessity, be cursory and brief.
+
+LEONID FYODORITCH. Yes, please; briefly, quite briefly.
+
+DOCTOR. All right. (Takes out thermometer.) Now then, my lad....
+
+     [Places the thermometer.
+
+SIMON. Yes, sir!
+
+PROFESSOR (rising and addressing the FAT LADY--then reseating
+himself). Ladies and gentlemen! The phenomenon we are investigating
+to-night is regarded, on the one hand, as something new; and, on the
+other, as something transcending the limits of natural conditions.
+Neither view is correct. This phenomenon is not new but is as old as
+the world; and it is not supernatural but is subject to the eternal
+laws that govern all that exists. This phenomenon has been usually
+defined as "intercourse with the spirit world." That definition is
+inexact. Under such a definition the spirit world is contrasted with
+the material world. But this is erroneous; there is no such contrast!
+Both worlds are so closely connected that it is impossible to draw a
+line of demarcation, separating the one from the other. We say matter
+is composed of molecules....
+
+PETRISTCHEF. Prosy matter!
+
+     [Whispering and laughter.
+
+PROFESSOR (pauses, then continues). Molecules are composed of atoms,
+but the atoms, having no extension, are in reality nothing but the
+points of application of forces. Strictly speaking, not of forces but
+of energy, that same energy which is as much a unity and just as
+indestructible as matter. But matter, though one, has many different
+aspects, and the same is true of energy. Till recently only four forms
+of energy, convertible into one another, have been known to us:
+energies known as the dynamic, the thermal, the electric, and the
+chemic. But these four aspects of energy are far from exhausting all
+the varieties of its manifestation. The forms in which energy may
+manifest itself are very diverse, and it is one of these new and as
+yet but little known phases of energy, that we are investigating
+to-night. I refer to mediumistic energy.
+
+     [Renewed whispering and laughter among the young people.
+
+PROFESSOR (stops and casts a severe look round). Mediumistic energy
+has been known to mankind for ages: prophecy, presentiments, visions
+and so on, are nothing but manifestations of mediumistic energy. The
+manifestations produced by it have, I say, been known to mankind for
+ages. But the energy itself has not been recognised as such till quite
+recently--not till that medium, the vibrations of which cause the
+manifestations of mediumistic energy, was recognised. In the same way
+that the phenomena of light were inexplicable until the existence of
+an imponderable substance--an ether--was recognised, so mediumistic
+phenomena seemed mysterious until the now fully established fact was
+recognised, that between the particles of ether there exists another
+still more rarefied imponderable substance not subject to the law of
+the three dimensions....
+
+     [Renewed laughter, whispers, and giggling.
+
+PROFESSOR (again looks round severely). And just as mathematical
+calculations have irrefutably proved the existence of imponderable
+ether which gives rise to the phenomena of light and electricity, so
+the successive investigations of the ingenious Hermann, of Schmidt,
+and of Joseph Schmatzhofen, have confirmed beyond a doubt the
+existence of a substance which fills the universe and may be called
+spiritual ether.
+
+FAT LADY. Ah, now I understand. I am so grateful....
+
+LEONID FYODORITCH. Yes, but Alexey Vladimiritch, could you not ...
+condense it a little?
+
+PROFESSOR (not heeding the remark). And so, as I have just had the
+honor of mentioning to you, a succession of strictly scientific
+experiments have made plain to us the laws of mediumistic phenomena.
+These experiments have proved that, when certain individuals are
+plunged into a hypnotic state (a state differing from ordinary sleep
+only by the fact that man's physiological activity is not lowered by
+the hypnotic influence but, on the contrary, is always heightened--as
+we have recently witnessed), when, I say, any individual is plunged
+into such a state, this always produces certain perturbations in the
+spiritual ether--perturbations quite similar to those produced by
+plunging a solid body into liquid matter. These perturbations are what
+we call mediumistic phenomena....
+
+     [Laughter and whispers.
+
+SAHATOF. That is quite comprehensible and correct; but if, as you are
+kind enough to inform us, the plunging of the medium into a trance
+produces perturbations of the spiritual ether, allow me to ask why (as
+is usually supposed to be the case in spiritualistic seances) these
+perturbations result in an activity on the part of the souls of dead
+people?
+
+PROFESSOR. It is because the molecules of this spiritual ether are
+nothing but the souls of the living, the dead, and the unborn, and any
+vibration of the spiritual ether must inevitably cause a certain
+vibration of its atoms. These atoms are nothing but human souls, which
+enter into communication with one another by means of these movements.
+
+FAT LADY (to SAHATOF). What is it that puzzles you? It is so
+simple.... Thank you so, so much!
+
+LEONID FYODORITCH. I think everything has now been explained, and that
+we may commence.
+
+DOCTOR. The fellow is in a perfectly normal condition: temperature 37
+decimal 2, pulse 74.
+
+PROFESSOR (takes out his pocket-book and notes this down). What I have
+just had the honor of explaining will be confirmed by the fact, which
+we shall presently have an opportunity of observing, that after the
+medium has been thrown into a trance his temperature and pulse will
+inevitably rise, just as occurs in cases of hypnotism.
+
+LEONID FYODORITCH. Yes, yes. But excuse me a moment. I should like to
+reply to Sergey Ivanitch's question: How do we know we are in
+communication with the souls of the dead? We know it because the
+spirit that appears, plainly tells us--as simply as I am speaking to
+you--who he is, and why he has come, and whether all is well with him!
+At our last seance a Spaniard, Don Castillos, came to us, and he told
+us everything. He told us who he was, and when he died, and that he
+was suffering for having taken part in the Inquisition. He even told
+us what was happening to him at the very time that he was speaking to
+us, namely, that at the very time he was talking to us he had to be
+born again on earth, and, therefore, could not continue his
+conversation with us.... But you'll see for yourselves....
+
+FAT LADY (interrupting). Oh, how interesting! Perhaps the Spaniard was
+born in one of our houses and is a baby now!
+
+LEONID FYODORITCH. Quite possibly.
+
+PROFESSOR. I think it is time we began.
+
+LEONID FYODORITCH. I was only going to say....
+
+PROFESSOR. It is getting late.
+
+LEONID FYODORITCH. Very well. Then we will commence. Anton Borisitch,
+be so good as to hypnotize the medium.
+
+GROSSMAN. What method would you like me to use? There are several
+methods. There is Braid's system, there is the Egyptian symbol, and
+there is Charcot's system.
+
+LEONID FYODORITCH (to the PROFESSOR). I think it is quite immaterial.
+
+PROFESSOR. Quite.
+
+GROSSMAN. Then I will make use of my own method, which I showed in
+Odessa.
+
+LEONID FYODORITCH. If you please!
+
+     [GROSSMAN waves his arms above SIMON. SIMON closes his eyes and
+      stretches himself.
+
+GROSSMAN (looking closely at him). He is falling asleep! He is asleep!
+A remarkably rapid occurrence of hypnosis. The subject has evidently
+already reached a state of anaesthesia. He is remarkable,--an
+unusually impressionable subject, and might be subjected to
+interesting experiments!... (Sits down, rises, sits down again.) Now
+one might run a needle into his arm. If you like....
+
+PROFESSOR (to LEONID FYODORITCH). Do you notice how the medium's
+trance acts on Grossman? He is beginning to vibrate.
+
+LEONID FYODORITCH. Yes, yes ... can the lights be extinguished now?
+
+SAHATOF. But why is darkness necessary?
+
+PROFESSOR. Darkness? Because it is a condition of the manifestation of
+mediumistic energy, just as a given temperature is a condition
+necessary for certain manifestations of chemical or dynamic energy.
+
+LEONID FYODORITCH. But not always. Manifestations have been observed
+by me, and by many others, both by candlelight and daylight.
+
+PROFESSOR (interrupting). May the lights be put out?
+
+LEONID FYODORITCH. Yes, certainly. (Puts out candles.) Ladies and
+gentlemen! attention, if you please.
+
+     [TANYA gets from under the sofa and takes hold of a thread tied
+      to a chandelier.
+
+PETRISTCHEF. I like that Spaniard! Just in the midst of a
+conversation--off he goes head downwards ... as the French say: piquer
+une tete. [12]
+
+BETSY. You just wait a bit, and see what will happen!
+
+PETRISTCHEF. I have only one fear, and that is that Vovo may be moved
+by the spirit to grunt like a pig!
+
+VASILY LEONIDITCH. Would you like me to? I will....
+
+LEONID FYODORITCH. Gentlemen! Silence, if you please!
+
+     [Silence. SIMON licks the matches on his fingers and rubs his
+      knuckles with them. Leonid Fyodoritch. A light! Do you see the
+      light?
+
+SAHATOF. A light? Yes, yes, I see; but allow me....
+
+FAT LADY. Where? Where? Oh, dear, I did not see it! Ah, there it is.
+Oh!...
+
+PROFESSOR (whispers to LEONID FYODORITCH, and points to GROSSMAN, who
+is moving). Do you notice how he vibrates? It is the dual influence.
+
+     [The light appears again.
+
+LEONID FYODORITCH (to the PROFESSOR). It must be he--you know!
+
+SAHATOF. Who?
+
+LEONID FYODORITCH. A Greek, Nicholas. It is his light. Don't you think
+so, Alexey Vladimiritch?
+
+SAHATOF. Who is this Greek, Nicholas?
+
+PROFESSOR. A certain Greek, who was a monk at Constantinople under
+Constantine and who has been visiting us lately.
+
+FAT LADY. Where is he? Where is he? I don't see him.
+
+LEONID FYODORITCH. He is not yet visible ... Alexey Vladimiritch, he
+is particularly well disposed towards you. You question him.
+
+PROFESSOR (in a peculiar voice). Nicholas! Is that you?
+
+     [TANYA raps twice on the wall.
+
+LEONID FYODORITCH (joyfully). It is he! It is he!
+
+FAT LADY. Oh, dear! Oh! I shall go away!
+
+SAHATOF. Why do you suppose it is he?
+
+LEONID FYODORITCH. Why, the two knocks. It is an affirmative answer;
+else all would have been silence.
+
+     [Silence. Suppressed giggling in the young people's corner.
+      TANYA throws a lampshade, pencil and penwiper upon the table.
+
+LEONID FYODORITCH (whispers). Do you notice, gentlemen, here is a
+lamp-shade, and something else--a pencil!... Alexey Vladimiritch, it
+is a pencil!
+
+PROFESSOR. All right, all right! I am watching both him and Grossman!
+
+     [GROSSMAN rises and feels the things that have fallen on the table.
+
+SAHATOF. Excuse me, excuse me! I should like to see whether it is not
+the medium who is doing it all himself?
+
+LEONID FYODORITCH. Do you think so? Well, sit by him and hold his
+hands. But you may be sure he is asleep.
+
+SAHATOF (approaches, TANYA lets a thread touch his head. He is
+frightened, and stoops). Ye ... ye ... yes! Strange, very strange!
+
+     [Takes hold of SIMON'S elbow. SIMON howls.
+
+PROFESSOR (to LEONID FYODORITCH). Do you notice the effect of
+Grossman's presence? It is a new phenomenon--I must note it....
+
+     [Runs out to note it down, and returns again.
+
+LEONID FYODORITCH. Yes.... But we cannot leave Nicholas without an
+answer. We must begin....
+
+GROSSMAN (rises, approaches Simon and raises and lowers his arm). It
+would be interesting to produce contraction! The subject is in
+profound hypnosis.
+
+PROFESSOR (to LEONID FYODORITCH). Do you see? Do you see?
+
+GROSSMAN. If you like....
+
+DOCTOR. Now then, my dear sir, leave the management to Alexey
+Vladimiritch; the affair is turning out serious.
+
+PROFESSOR. Leave him alone, he (referring to GROSSMAN) is talking in
+his sleep!
+
+FAT LADY. How glad I now am that I resolved to be present! It is
+frightening, but all the same I am glad, for I always said to my
+husband....
+
+LEONID FYODORITCH. Silence, if you please.
+
+     [TANYA draws a thread over the FAT LADY'S head.
+
+FAT LADY. Aie!
+
+LEONID FYODORITCH. What? What is it?
+
+FAT LADY. He took hold of my hair!
+
+LEONID FYODORITCH (whispers). Never mind, don't be afraid, give him
+your hand. His hand will be cold, but I like it.
+
+FAT LADY (hides her hands). Not for the world!
+
+SAHATOF. Yes, it is strange, very strange!
+
+LEONID FYODORITCH. He is here and is seeking for intercourse. Who
+wishes to put a question to him?
+
+SAHATOF. I should like to put a question, if I may.
+
+PROFESSOR. Please do.
+
+SAHATOF. Do I believe or not?
+
+     [TANYA knocks twice.
+
+PROFESSOR. The answer is affirmative.
+
+SAHATOF. Allow me to ask again. Have I a ten rouble note in my pocket?
+
+     [TANYA knocks several times and passes a thread over SAHATOF'S head.
+
+SAHATOF. Ah!
+
+     [Seizes the thread and breaks it.
+
+PROFESSOR. I should ask those present not to ask indefinite or trivial
+questions. It is unpleasant to him!
+
+SAHATOF. No, but allow me! Here I have a thread in my hand!
+
+LEONID FYODORITCH. A thread? Hold it fast; that happens often, and not
+only threads but sometimes even silk cords--very ancient ones!
+
+SAHATOF. No--but where did this thread come from?
+
+     [TANYA throws a cushion at him.
+
+SAHATOF. Wait a bit; wait! Something soft has hit me on the head.
+Light a candle--there is something....
+
+PROFESSOR. We beg of you not to interrupt the manifestations.
+
+FAT LADY. For goodness' sake, don't interrupt! I should also like to
+ask something. May I?
+
+LEONID FYODORITCH. Yes, if you like.
+
+FAT LADY. I should like to ask about my digestion. May I? I want to
+know what to take: aconite or belladonna?
+
+     [Silence, whispers among the young people; suddenly VASILY
+      LEONIDITCH begins to cry like a baby: "ou-a, ou-a!" (Laughter.)
+      Holding their mouths and noses, the girls and PETRISTCHEF run
+      away bursting with laughter.
+
+FAT LADY. Ah, that must be the monk who's been born again!
+
+LEONID FYODORITCH (beside himself with anger, whispers). One gets
+nothing but tomfoolery from you! If you don't know how to behave
+decently, go away!
+
+     [Exit VASILY LEONIDITCH. Darkness and silence.
+
+FAT LADY. Oh, what a pity! Now one can't ask any more! He is born!
+
+LEONID FYODORITCH. Not at all. It is only Vovo's nonsense. But he is
+here. Ask him.
+
+PROFESSOR. That often happens. These jokes and ridicule are quite
+usual occurrences. I expect he is still here. But we may ask. Leonid
+Fyodoritch, will you?
+
+LEONID FYODORITCH. No, you, if you please. This has upset me. So
+unpleasant! Such want of tact!...
+
+PROFESSOR. Very well.... Nicholas, are you here?
+
+     [TANYA raps twice and rings. SIMON roars, spreads his arms out,
+      seizes SAHATOF and the PROFESSOR--squeezing them.
+
+PROFESSOR. What an unexpected phenomenon! The medium himself reacted
+upon! This never happened before! Leonid Fyodoritch, will you watch?
+It is difficult for me to do so. He squeezes me so! Mind you observe
+GROSSMAN! This needs the very greatest attention!
+
+     [TANYA throws the PEASANTS' paper on the table.
+
+LEONID FYODORITCH. Something has fallen upon the table.
+
+PROFESSOR. See what it is!
+
+LEONID FYODORITCH. Paper! A folded paper!
+
+     [TANYA throws a travelling inkstand on the table.
+
+LEONID FYODORITCH. An inkstand!
+
+     [TANYA throws a pen.
+
+LEONID FYODORITCH. A pen!
+
+     [SIMON roars and squeezes.
+
+PROFESSOR (crushed). Wait a bit, wait: a totally new manifestation!
+The action proceeding not from the mediumistic energy produced, but
+from the medium himself! However, open the inkstand, and put the pen
+on the table, and he will write!
+
+     [TANYA goes behind LEONID FYODORITCH and strikes him on the head
+      with the guitar.
+
+LEONID FYODORITCH. He has struck me on the head! (Examining table.)
+The pen is not writing yet and the paper remains folded.
+
+PROFESSOR. See what the paper is, and quickly; evidently the dual
+influence--his and Grossman's--has produced a perturbation!
+
+LEONID FYODORITCH (goes out and returns at once). Extraordinary! This
+paper is an agreement with some peasants that I refused to sign this
+morning and returned to the peasants. Probably he wants me to sign it?
+
+PROFESSOR. Of course! Of course! But ask him.
+
+LEONID FYODORITCH. Nicholas, do you wish....
+
+     [TANYA knocks twice.
+
+PROFESSOR. Do you hear? It is quite evident!
+
+     [LEONID FYODORITCH takes the paper and pen and goes out. TANYA
+      knocks, plays on the guitar and the accordion, and then creeps
+      under the sofa. LEONID FYODORITCH returns. SIMON stretches
+      himself and coughs.
+
+LEONID FYODORITCH. He is waking up. We can light the candles.
+
+PROFESSOR (hurriedly). Doctor, Doctor, please, his pulse and
+temperature! You will see that a rise of both will be apparent.
+
+LEONID FYODORITCH (lights the candles). Well, what do you gentlemen
+who were sceptical think of it now?
+
+DOCTOR (goes up to SIMON and places thermometer). Now then my lad.
+Well, have you had a nap? There, put that in there, and give me your
+hand.
+
+     [Looks at his watch.
+
+SAHATOF (shrugging his shoulders). I must admit that all that has
+occurred cannot have been done by the medium. But the thread?... I
+should like the thread explained.
+
+LEONID FYODORITCH. A thread! A thread! We have been witnessing
+manifestations more important than a thread.
+
+SAHATOF. I don't know. At all events, je reserve mon opinion.
+
+FAT LADY (to SAHATOF). Oh, no, how can you say: "je reserve mon
+opinion"? And the infant with the little wings? Didn't you see? At
+first I thought it was only an illusion, but afterwards it became
+clearer and clearer, like a live....
+
+SAHATOF. I can only speak of what I have seen. I did not see that--
+nothing of the kind.
+
+FAT LADY. You don't mean to say so? Why, it was quite plainly visible!
+And to the left there was a monk clothed in black bending over it....
+
+SAHATOF (moves away. Aside). What exaggeration!
+
+FAT LADY (addressing the DOCTOR). You must have seen it! It rose up
+from your side.
+
+     [DOCTOR goes on counting the pulse without heeding her.
+
+FAT LADY (to GROSSMAN). And that light, the light around it,
+especially around its little face! And the expression so mild and
+tender, something so heavenly!
+
+     [Smiles tenderly herself.
+
+GROSSMAN. I saw phosphorescent light, and objects changed their
+places, but I saw nothing more than that.
+
+FAT LADY. Don't tell me! You don't mean it! It is simply that you
+scientists of Charcot's school do not believe in a life beyond the
+grave! As for me, no one could now make me disbelieve in a future
+life--no one in the world!
+
+     [GROSSMAN moves away from her.
+
+FAT LADY. No, no, whatever you may say, this is one of the happiest
+moments of my life! When I heard Sarasate play, and now.... Yes! (No
+one listens to her. She goes up to SIMON.) Now tell me, my friend,
+what did you feel? Was it very trying?
+
+SIMON (laughs). Yes, ma'm, just so.
+
+FAT LADY. Still not unendurable?
+
+SIMON. Just so, ma'm. (To LEONID FYODORITCH.) Am I to go?
+
+LEONID FYODORITCH. Yes, you may go.
+
+DOCTOR (to the PROFESSOR). The pulse is the same, but the temperature
+is lower.
+
+PROFESSOR. Lower! (Considers awhile, then suddenly divines the
+conclusion.) It had to be so--it had to descend! The dual influence
+crossing had to produce some kind of reflex action. Yes, that's it!
+
+     [Exeunt, all talking at once--
+
+     LEONID FYODORITCH. I'm only sorry we had no complete
+     materialisation. But still.... Come, gentlemen, let us go to the
+     drawing-room?
+
+     FAT LADY. What specially struck me was when he flapped his wings,
+     and one saw how he rose!
+
+     GROSSMAN (to SAHATOF). If we had kept to hypnotism, we might have
+     produced a thorough state of epilepsy. The success might have
+     been complete!
+
+     SAHATOF. It is very interesting, but not entirely convincing. That
+     is all I can say.
+
+     [Enter THEODORE IVANITCH.
+
+LEONID FYODORITCH (with paper in his hand). Ah, Theodore, what a
+remarkable seance we have had! It turns out that the peasants must
+have the land on their own terms.
+
+THEODORE IVANITCH. Dear me!
+
+LEONID FYODORITCH. Yes, indeed. (Showing paper.) Fancy, this paper
+that I returned to them, suddenly appeared on the table! I have signed
+it.
+
+THEODORE IVANITCH. How did it get there?
+
+LEONID FYODORITCH. Well, it did get there!
+
+     [Exit. THEODORE IVANITCH follows him out.
+
+TANYA (gets from under the sofa and laughs). Oh, dear, oh dear! Well,
+I did get a fright when he got hold of the thread! (Shrieks.) Well,
+anyhow, it's all right--he has signed it!
+
+     [Enter GREGORY.
+
+GREGORY. So it was you that was fooling them?
+
+TANYA. What business is it of yours?
+
+GREGORY. And do you think the missis will be pleased with you for it?
+No, you bet; you're caught now! I'll tell them what tricks you're up
+to, if you don't let me have my way!
+
+TANYA. And you'll not get your way, and you'll not do me any harm!
+
+CURTAIN
+
+
+
+
+ACT IV
+
+The same scene as in Act I. The next day. Two liveried footmen,
+THEODORE IVANITCH and GREGORY.
+
+FIRST FOOTMAN (with grey whiskers). Yours is the third house to-day.
+Thank goodness that all the at-homes are in this direction. Yours used
+to be on Thursdays.
+
+THEODORE IVANITCH. Yes, we changed to Saturday so as to be on the same
+day as the Golovkins and Grade von Grabes....
+
+SECOND FOOTMAN. The Stcherbakofs do the thing well. There's
+refreshments for the footmen every time they've a ball.
+
+     [The two PRINCESSES, mother and daughter, come down the stairs
+      accompanied by BETSY. The old PRINCESS looks in her note-book
+      and at her watch, and sits down on the settle. GREGORY puts on
+      her overshoes.
+
+YOUNG PRINCESS. Now, do come. Because, if you refuse, and Dodo
+refuses, the whole thing will be spoilt.
+
+BETSY. I don't know. I must certainly go to the Shoubins. And then
+there is the rehearsal.
+
+YOUNG PRINCESS. You'll have plenty of time. Do, please. Ne nous fais
+pas faux bond.[13] Fedya and Koko will come.
+
+BETSY. J'en ai par-dessus la tete de votre Koko.[14]
+
+YOUNG PRINCESS. I thought I should see him here. Ordinairement il est
+d'une exactitude....[15]
+
+BETSY. He is sure to come.
+
+YOUNG PRINCESS. When I see you together, it always seems to me that he
+has either just proposed or is just going to propose.
+
+BETSY. Yes, I don't suppose it can be avoided. I shall have to go
+through with it. And it is so unpleasant!
+
+YOUNG PRINCESS. Poor Koko! He is head over ears in love.
+
+BETSY. Cessez, les gens![16]
+
+     [YOUNG PRINCESS sits down, talking in whispers. GREGORY puts on
+      her overshoes.
+
+YOUNG PRINCESS. Well then, good-bye till this evening.
+
+BETSY. I'll try to come.
+
+OLD PRINCESS. Then tell your papa that I don't believe in anything of
+the kind, but will come to see his new medium. Only he must let me
+know when. Good afternoon, ma toute belle.
+
+     [Kisses BETSY, and exit, followed by her daughter. BETSY goes
+      upstairs.
+
+GREGORY. I don't like putting on an old woman's overshoes for her; she
+can't stoop, can't see her shoe for her stomach, and keeps poking her
+foot in the wrong place. It's different with a young one; it's
+pleasant to take her foot in one's hand.
+
+SECOND FOOTMAN. Hear him! Making distinctions!
+
+FIRST FOOTMAN. It's not for us footmen to make such distinctions.
+
+GREGORY. Why shouldn't one make distinctions; are we not men? It's
+they think we don't understand! Just now they were deep in their talk,
+then they look at me, and at once it's "lay zhon!"
+
+SECOND FOOTMAN. And what's that?
+
+GREGORY. Oh, that means, "Don't talk, they understand!" It's the same
+at table. But I understand! You say, there's a difference? I say there
+is none.
+
+FIRST FOOTMAN. There is a great difference for those who understand.
+
+GREGORY. There is none at all. To-day I am a footman, and to-morrow I
+may be living no worse than they are. Has it never happened that
+they've married footmen? I'll go and have a smoke.
+
+     [Exit.
+
+SECOND FOOTMAN. That's a bold young man you've got.
+
+THEODORE IVANITCH. A worthless fellow, not fit for service. He used to
+be an office boy and has got spoilt. I advised them not to take him,
+but the mistress liked him. He looks well on the carriage when they
+drive out.
+
+FIRST FOOTMAN. I should like to send him to our Count; he'd put him in
+his place! Oh, he don't like those scatterbrains. "If you're a
+footman, be a footman and fulfil your calling." Such pride is not
+befitting.
+
+     [PETRISTCHEF comes running downstairs, and takes out a cigarette.
+
+PETRISTCHEF (deep in thought). Let's see, my second is the same as my
+first. Echo, a-co, co-coa. (Enter KOKO KLINGEN, wearing his
+pince-nez.) Ko-ko, co-coa. Cocoa tin, where do you spring from?
+
+KOKO KLINGEN. From the Stcherbakofs. You are always playing the
+fool....
+
+PETRISTCHEF. No, listen to my charade. My first is the same as my
+second, my third may be cracked, my whole is like your pate.
+
+KOKO KLINGEN. I give it up. I've no time.
+
+PETRISTCHEF. Where else are you going?
+
+KOKO KLINGEN. Where? Of course to the Ivins, to practice for the
+concert. Then to the Shoubins, and then to the rehearsal. You'll be
+there too, won't you?
+
+PETRISTCHEF. Most certainly. At the re-her-Sall and also at the
+re-her-Sarah. Why, at first I was a savage, and now I am both a savage
+and a general.
+
+KOKO KLINGEN. How did yesterday's seance go off?
+
+PETRISTCHEF. Screamingly funny! There was a peasant, and above all, it
+was all in the dark. Vovo cried like an infant, the Professor defined,
+and Marya Vasilevna refined. Such a lark! You ought to have been
+there.
+
+KOKO KLINGEN. I'm afraid, mon cher. You have a way of getting off with
+a jest, but I always feel that if I say a word they'll construe it
+into a proposal. Et ca ne m'arrange pas du tout, du tout. Mais du
+tout, du tout! [17]
+
+PETRISTCHEF. Instead of a proposal, make a proposition, and receive a
+sentence! Well, I shall go in to Vovo's. If you'll call for me, we can
+go to the re-her-Sarah together.
+
+KOKO KLINGEN. I can't think how you can be friends with such a fool.
+He is so stupid--a regular blockhead!
+
+PETRISTCHEF. And I am fond of him. I love Vovo, but ... "with a love
+so strange, ne'er towards him the path untrod shall be"....
+
+     [Exit into Vovo's room.
+
+     [BETSY comes down with a LADY. KOKO bows significantly to BETSY.
+
+BETSY (shaking KOKO'S hand without turning towards him. To LADY). You
+are acquainted?
+
+LADY. No.
+
+BETSY. Baron Klingen.... Why were you not here last night?
+
+KOKO KLINGEN. I could not come, I was engaged.
+
+BETSY. What a pity, it was so interesting! (Laughs.) You should have
+seen what manifestations we had! Well, how is our charade getting on?
+
+KOKO KLINGEN. Oh, the verses for mon second are ready. Nick composed
+the verses, and I the music.
+
+BETSY. What are they? What are they? Do tell me!
+
+KOKO KLINGEN. Wait a minute; how does it go?... Oh, the knight sings:
+
+          "Oh, naught so beautiful as nature:
+           The Nautilus sails by.
+           Oh, naughty lass, oh, naughty lass!
+           Oh, nought, oh, nought! Oh, fie!"
+
+LADY. I see, my second is "nought," and what is my first?
+
+KOKO KLINGEN. My first is Aero, the name of a girl savage.
+
+BETSY. Aero, you see, is a savage who wished to devour the object of
+her love. (Laughs.) She goes about lamenting, and sings--
+
+          "My appetite,"
+
+KOKO KLINGEN (interrupts)--
+
+          "How can I fight,"....
+
+BETSY (chimes in)--
+
+          "Some one to chew I long.
+           I seeking go ...."
+
+KOKO KLINGEN--
+
+          "But even so...."
+
+BETSY--
+
+          "No one to chew can find."
+
+KOKO KLINGEN--
+
+          "A raft sails by,"
+
+BETSY--
+
+          "It cometh nigh;
+           Two generals upon it...."
+
+KOKO KLINGEN--
+
+          "Two generals are we:
+           By fate's hard decree,
+           To this island we flee."
+
+And then, the refrain--
+
+          "By fate's hard decree,
+           To this island we flee."
+
+LADY. Charmant!
+
+BETSY. But just think how silly!
+
+KOKO KLINGEN. Yes, that's the charm of it!
+
+LADY. And who is to be Aero?
+
+BETSY. I am. And I have had a costume made, but mamma says it's "not
+decent." And it is not a bit less decent than a ball dress. (To
+THEODORE IVANITCH.) Is Bourdier's man here?
+
+THEODORE IVANITCH. Yes, he is waiting in the kitchen.
+
+LADY. Well, and how will you represent Aeronaut?
+
+BETSY. Oh, you'll see. I don't want to spoil the pleasure for you. Au
+revoir.
+
+LADY. Good-bye!
+
+     [They bow. Exit LADY.
+
+BETSY (to KOKO KLINGEN). Come up to mamma.
+
+     [BETSY and KOKO go upstairs. JACOB enters from servants'
+      quarters, carrying a tray with teacups, cakes, etc., and goes
+      panting across the stage.
+
+JACOB (to the FOOTMEN). How d'you do? How d'you do?
+
+     [FOOTMEN bow.
+
+JACOB (to THEODORE IVANITCH). Couldn't you tell Gregory to help a bit!
+I'm ready to drop....
+
+     [Exit up the stairs.
+
+FIRST FOOTMAN. That is a hard-working chap you've got there.
+
+THEODORE IVANITCH. Yes, a good fellow. But there now--he doesn't
+satisfy the mistress, she says his appearance is ungainly. And now
+they've gone and told tales about him for letting some peasants into
+the kitchen yesterday. It is a bad look-out: they may dismiss him. And
+he is a good fellow.
+
+SECOND FOOTMAN. What peasants were they?
+
+THEODORE IVANITCH. Peasants that had come from our Koursk village to
+buy some land. It was night, and they were our fellow-countrymen, one
+of them the father of the butler's assistant. Well, so they were asked
+into the kitchen. It so happened that there was thought-reading going
+on. Something was hidden in the kitchen, and all the gentlefolk came
+down, and the mistress saw the peasants. There was such a row! "How is
+this," she says; "these people may be infected, and they are let into
+the kitchen!".... She is terribly afraid of this infection.
+
+     [Enter GREGORY.
+
+THEODORE IVANITCH. Gregory, you go and help Jacob. I'll stay here. He
+can't manage alone.
+
+GREGORY. He's awkward, that's why he can't manage.
+
+     [Exit.
+
+FIRST FOOTMAN. And what is this new mania they have got? This
+infection!... So yours also is afraid of it?
+
+THEODORE IVANITCH. She fears it worse than fire! Our chief business,
+nowadays, is fumigating, washing, and sprinkling.
+
+FIRST FOOTMAN. I see. That's why there is such a stuffy smell here.
+(With animation.) I don't know what we're coming to with these
+infection notions. It's just detestable! They seem to have forgotten
+the Lord. There's our master's sister, Princess Mosolova, her daughter
+was dying, and, will you believe it, neither father nor mother would
+come near her! So she died without their having taken leave of her.
+And the daughter cried, and called them to say good-bye--but they
+didn't go! The doctor had discovered some infection or other! And yet
+their own maid and a trained nurse were with her, and nothing happened
+to them; they're still alive!
+
+     [Enter VASILY LEONIDITCH and PETRISTCHEF from VASILY LEONIDITCH'S
+      room, smoking cigarettes.
+
+PETRISTCHEF. Come along then, only I must take Koko--Cocoanut, with
+me.
+
+VASILY LEONIDITCH. Your Koko is a regular dolt; I can't bear him. A
+hare-brained fellow, a regular gad-about! Without any kind of
+occupation, eternally loafing around! Eh, what?
+
+PETRISTCHEF. Well, anyhow, wait a bit, I must say goodbye.
+
+VASILY LEONIDITCH. All right. And I will go and look at my dogs in the
+coachman's room. I've got a dog there that's so savage, the coachman
+said, he nearly ate him.
+
+PETRISTCHEF. Who ate whom? Did the coachman really eat the dog?
+
+VASILY LEONIDITCH. You are always at it!
+
+     [Puts on outdoor things and goes out.
+
+PETRISTCHEF (thoughtfully). Ma - kin - tosh, Co - co - tin.... Let's
+see.
+
+     [Goes upstairs.
+
+     [JACOB runs across the stage.
+
+THEODORE IVANITCH. What's the matter?
+
+JACOB. There is no more thin bread and butter. I said....
+
+     [Exit.
+
+SECOND FOOTMAN. And then our master's little son fell ill, and they
+sent him at once to an hotel with his nurse, and there he died without
+his mother.
+
+FIRST FOOTMAN. They don't seem to fear sin! I think you cannot escape
+from God anywhere.
+
+THEODORE IVANITCH. That's what I think.
+
+     [JACOB runs upstairs with bread and butter.
+
+FIRST FOOTMAN. One should consider too, that if we are to be afraid of
+everybody like that, we'd better shut ourselves up within four walls,
+as in a prison, and stick there!
+
+     [Enter TANYA; she bows to the FOOTMEN.
+
+TANYA. Good afternoon.
+
+     [FOOTMEN bow.
+
+TANYA. Theodore Ivanitch, I have a word to say to you.
+
+THEODORE IVANITCH. Well, what?
+
+TANYA. The peasants have come again, Theodore Ivanitch....
+
+THEODORE IVANITCH. Well? I gave the paper to Simon.
+
+TANYA. I have given them the paper. They were that grateful! I can't
+say how! Now they only ask you to take the money.
+
+THEODORE IVANITCH. But where are they?
+
+TANYA. Here, by the porch.
+
+THEODORE IVANITCH. All right, I'll tell the master.
+
+TANYA. I have another request to you, dear Theodore Ivanitch.
+
+THEODORE IVANITCH. What now?
+
+TANYA. Why, don't you see, Theodore Ivanitch, I can't remain here any
+longer. Ask them to let me go.
+
+     [Enter JACOB, running.
+
+THEODORE IVANITCH (to JACOB). What d'you want?
+
+JACOB. Another samovar, and oranges.
+
+THEODORE IVANITCH. Ask the housekeeper.
+
+     [Exit JACOB.
+
+THEODORE IVANITCH (to TANYA). How is that?
+
+TANYA. Why, don't you see, my position is such....
+
+JACOB (runs in). There are not enough oranges.
+
+THEODORE IVANITCH. Serve up as many as you've got. (Exit JACOB.) Now's
+not the time! Just see what a bustle we are in.
+
+TANYA. But you know yourself, Theodore Ivanitch, there is no end to
+this bustle; one might wait for ever--you know yourself--and my affair
+is for life.... Dear Theodore Ivanitch, you have done me a good turn,
+be a father to me now, choose the right moment and tell her, or else
+she'll get angry and won't let me have my passport.[18]
+
+THEODORE IVANITCH. Where's the hurry?
+
+TANYA. Why, Theodore Ivanitch, it's all settled now.... And I could go
+to my godmother's and get ready, and then after Easter we'd get
+married.[19] Do tell her, dear Theodore Ivanitch!
+
+THEODORE IVANITCH. Go away--this is not the place.
+
+     [An elderly GENTLEMAN comes downstairs, puts on overcoat, and
+      goes out, followed by the SECOND FOOTMAN.
+
+     [Exit TANYA. Enter JACOB.
+
+JACOB. Just fancy, Theodore Ivanitch, it's too bad! She wants to
+discharge me now! She says, "You break everything, and forget Frisk,
+and you let the peasants into the kitchen against my orders!" And you
+know very well that I knew nothing about it. Tatyana told me, "Take
+them into the kitchen"; how could I tell whose order it was?
+
+THEODORE IVANITCH. Did the mistress speak to you?
+
+JACOB. She's just spoken. Do speak up for me, Theodore Ivanitch! You
+see, my people in the country are only just getting on their feet, and
+suppose I lose my place, when shall I get another? Theodore Ivanitch,
+do, please!
+
+     [ANNA PAVLOVNA comes down with the old COUNTESS, whom she is
+      seeing off. The COUNTESS has false teeth and hair. The FIRST
+      FOOTMAN helps the COUNTESS into her outdoor things.
+
+ANNA PAVLOVNA. Oh, most certainly, of course! I am so deeply touched.
+
+COUNTESS. If it were not for my illness, I should come oftener to see
+you.
+
+ANNA PAVLOVNA. You should really consult Peter Petrovitch. He is
+rough, but nobody can soothe one as he does. He is so clear, so
+simple.
+
+COUNTESS. Oh no, I shall keep to the one I am used to.
+
+ANNA PAVLOVNA. Pray, take care of yourself.
+
+COUNTESS. Merci, mille fois merci.[20]
+
+     [GREGORY, dishevelled and excited, jumps out from the servants'
+      quarters. SIMON appears behind him in the doorway.
+
+SIMON. You'd better leave her alone!
+
+GREGORY. You rascal! I'll teach you how to fight, you scamp, you!
+
+ANNA PAVLOVNA. What do you mean? Do you think you are in a
+public-house?
+
+GREGORY. This coarse peasant makes life impossible for me.
+
+ANNA PAVLOVNA (provoked). You've lost your senses. Don't you see? (To
+COUNTESS.) Merci, mille fois merci. A mardi! [21]
+
+     [Exeunt COUNTESS and FIRST FOOTMAN.
+
+ANNA PAVLOVNA (to GREGORY). What is the meaning of this?
+
+GREGORY. Though I do occupy the position of a footman, still I won't
+allow every peasant to hit me; I have my pride too.
+
+ANNA PAVLOVNA. Why, what has happened?
+
+GREGORY. Why, this Simon of yours has got so brave, sitting with the
+gentlemen, that he wants to fight!
+
+ANNA PAVLOVNA. Why? What for?
+
+GREGORY. Heaven only knows!
+
+ANNA PAVLOVNA (to SIMON). What is the meaning of it?
+
+SIMON. Why does he bother her?
+
+ANNA PAVLOVNA. What has happened?
+
+SIMON (smiles). Well, you see, he is always catching hold of Tanya,
+the lady's-maid, and she won't have it. Well, so I just moved him
+aside a bit, just so, with my hand.
+
+GREGORY. A nice little bit! He's almost caved my ribs in, and has torn
+my dress-coat, and he says, "The same power as came over me yesterday
+comes on me again," and he begins to squeeze me.
+
+ANNA PAVLOVNA (to SIMON). How dare you fight in my house?
+
+THEODORE IVANITCH. May I explain it to you, ma'am? I must tell you
+Simon is not indifferent to Tanya, and is engaged to her. And Gregory
+--one must admit the truth--does not behave properly, nor honestly, to
+her. Well, so I suppose Simon got angry with him.
+
+GREGORY. Not at all! It is all his spite, because I have discovered
+their trickery.
+
+ANNA PAVLOVNA. What trickery?
+
+GREGORY. Why, at the seance. All those things, last night,--it was not
+Simon but Tanya who did them! I saw her getting out from under the
+sofa with my own eyes.
+
+ANNA PAVLOVNA. What is that? From under the sofa?
+
+GREGORY. I give you my word of honor. And it was she who threw the
+paper on the table. If it had not been for her the paper would not
+have been signed, nor the land sold to the peasants.
+
+ANNA PAVLOVNA. And you saw it yourself?
+
+GREGORY. With my own eyes. Shall I call her? She'll not deny it.
+
+ANNA PAVLOVNA. Yes, call her.
+
+     [Exit GREGORY.
+
+     [Noise behind the scenes. The voice of the DOORKEEPER, "No, no,
+      you cannot." DOORKEEPER is seen at the front door, the three
+      PEASANTS rush in past him, the SECOND PEASANT first; the THIRD
+      one stumbles, falls on his nose, and catches hold of it.
+
+DOORKEEPER. You must not go in!
+
+SECOND PEASANT. Where's the harm? We are not doing anything wrong. We
+only wish to pay the money!
+
+FIRST PEASANT. That's just it; as by laying on the signature the
+affair is come to a conclusion, we only wish to make payment with
+thanks.
+
+ANNA PAVLOVNA. Wait a bit with your thanks. It was all done by fraud!
+It is not settled yet. Not sold yet.... Leonid.... Call Leonid
+Fyodoritch.
+
+     [Exit DOORKEEPER.
+
+     [LEONID FYODORITCH enters, but, seeing his wife and the PEASANTS,
+      wishes to retreat.
+
+ANNA PAVLOVNA. No, no, come here, please! I told you the land must not
+be sold on credit, and everybody told you so, but you let yourself be
+deceived like the veriest blockhead.
+
+LEONID FYODORITCH. How? I don't understand who is deceiving?
+
+ANNA PAVLOVNA. You ought to be ashamed of yourself! You have grey
+hair, and you let yourself be deceived and laughed at like a silly
+boy. You grudge your son some three hundred roubles which his social
+position demands, and let yourself be tricked of thousands--like a
+fool!
+
+LEONID FYODORITCH. Now come, Annette, try to be calm.
+
+FIRST PEASANT. We are only come about the acceptation of the sum, for
+example....
+
+THIRD PEASANT (taking out the money). Let us finish the matter, for
+Christ's sake!
+
+ANNA PAVLOVNA. Wait, wait!
+
+     [Enter TANYA and GREGORY.
+
+ANNA PAVLOVNA (angrily). You were in the small drawing-room during the
+seance last night?
+
+     [TANYA looks around at THEODORE IVANITCH, LEONID FYODORITCH, and
+      SIMON, and sighs.
+
+GREGORY. It's no use beating about the bush; I saw you myself....
+
+ANNA PAVLOVNA. Tell me, were you there? I know all about it, so you'd
+better confess! I'll not do anything to you. I only want to expose him
+(pointing to LEONID FYODORITCH) your master.... Did you throw the
+paper on the table?
+
+TANYA. I don't know how to answer. Only one thing,--let me go home.
+
+     [Enter BETSY unobserved.
+
+ANNA PAVLOVNA (to LEONID FYODORITCH). There, you see! You are being
+made a fool of.
+
+TANYA. Let me go home, Anna Pavlovna!
+
+ANNA PAVLOVNA. No, my dear! You may have caused us a loss of thousands
+of roubles. Land has been sold that ought not to be sold!
+
+TANYA. Let me go, Anna Pavlovna!
+
+ANNA PAVLOVNA. No; you'll have to answer for it! Such tricks won't do.
+We'll have you up before the Justice of the Peace!
+
+BETSY (comes forward). Let her go, mamma. Or, if you wish to have her
+tried, you must have me tried too! She and I did it together.
+
+ANNA PAVLOVNA. Well, of course, if you have a hand in anything, what
+can one expect but the very worst results!
+
+     [Enter the PROFESSOR.
+
+PROFESSOR. How do you do, Anna Pavlovna? How do you do, Miss Betsy?
+Leonid Fyodoritch, I have brought you a report of the Thirteenth
+Congress of Spiritualists at Chicago. An amazing speech by Schmidt!
+
+LEONID FYODORITCH. Oh, that is interesting!
+
+ANNA PAVLOVNA. I will tell you something much more interesting! It
+turns out that both you and my husband were fooled by this girl! Betsy
+takes it on herself, but that is only to annoy me. It was an
+illiterate peasant girl who fooled you, and you believed it all.
+There were no mediumistic phenomena last night; it was she (pointing
+to TANYA) who did it!
+
+PROFESSOR (taking off his overcoat). What do you mean?
+
+ANNA PAVLOVNA. I mean that it was she who, in the dark, played on the
+guitar and beat my husband on the head and performed all your idiotic
+tricks--and she has just confessed!
+
+PROFESSOR (smiling). What does that prove?
+
+ANNA PAVLOVNA. It proves that your mediumism is--tomfoolery; that's
+what it proves!
+
+PROFESSOR. Because this young girl wished to deceive, we are to
+conclude that mediumism is "tomfoolery," as you are pleased to express
+it? (Smiles.) A curious conclusion! Very possibly this young girl may
+have wished to deceive: that often occurs. She may even have done
+something; but then, what she did--she did. But the manifestations of
+mediumistic energy still remain manifestations of mediumistic energy!
+It is even very probable that what this young girl did evoked (and so
+to say solicited) the manifestation of mediumistic energy,--giving it
+a definite form.
+
+ANNA PAVLOVNA. Another lecture!
+
+PROFESSOR (sternly). You say, Anna Pavlovna, that this girl, and
+perhaps this dear young lady also, did something; but the light we all
+saw, and, in the first case the fall, and in the second the rise of
+temperature, and Grossman's excitement and vibration--were those
+things also done by this girl? And these are facts, Anna Pavlovna,
+facts! No! Anna Pavlovna, there are things which must be investigated
+and fully understood before they can be talked about, things too
+serious, too serious....
+
+LEONID FYODORITCH. And the child that Marya Vasilevna distinctly saw?
+Why, I saw it too.... That could not have been done by this girl.
+
+ANNA PAVLOVNA. You think yourself wise, but you are--a fool.
+
+LEONID FYODORITCH. Well, I'm going.... Alexey Vladimiritch, will you
+come?
+
+     [Exit into his study.
+
+PROFESSOR (shrugging his shoulders, follows). Oh, how far, how far, we
+still lag behind Western Europe!
+
+     [Enter JACOB.
+
+ANNA PAVLOVNA (following LEONID FYODORITCH with her eyes). He has been
+tricked like a fool, and he sees nothing! (To JACOB.) What do you
+want?
+
+JACOB. How many persons am I to lay the table for?
+
+ANNA PAVLOVNA. For how many?... Theodore Ivanitch! Let him give up the
+silver plate to you. Be off, at once! It is all his fault! This man
+will bring me to my grave. Last night he nearly starved the dog that
+had done him no harm! And, as if that were not enough, he lets the
+infected peasants into the kitchen, and now they are here again! It is
+all his fault! Be off at once! Discharge him, discharge him! (To
+SIMON.) And you, horrid peasant, if you dare to have rows in my house
+again, I'll teach you!
+
+SECOND PEASANT. All right, if he is a horrid peasant there's no good
+keeping him; you'd better discharge him too, and there's an end of it.
+
+ANNA PAVLOVNA (while listening to him looks at THIRD PEASANT). Only
+look! Why, he has a rash on his nose--a rash! He is ill; he is a
+hotbed of infection!! Did I not give orders, yesterday, that they were
+not to be allowed into the house, and here they are again? Drive them
+out!
+
+THEODORE IVANITCH. Then are we not to accept their money?
+
+ANNA PAVLOVNA. Their money? Oh yes, take their money; but they must be
+turned out at once, especially this one! He is quite rotten!
+
+THIRD PEASANT. That's not just, lady. God's my witness, it's not just!
+You'd better ask my old woman, let's say, whether I am rotten! I'm
+clear as crystal, let's say.
+
+ANNA PAVLOVNA. He talks!... Off, off with him! It's all to spite
+me!... Oh, I can't bear it, I can't!... Send for the doctor!
+
+     [Runs away, sobbing. Exit also JACOB and GREGORY.
+
+TANYA (to BETSY). Miss Elizabeth, darling, what am I to do now?
+
+BETSY. Never mind, you go with them and I'll arrange it all.
+
+     [Exit.
+
+FIRST PEASANT. Well, your reverence, how about the reception of the
+sum now?
+
+SECOND PEASANT. Let us settle up, and go.
+
+THIRD PEASANT (fumbling with the packet of banknotes). Had I known,
+I'd not have come for the world. It's worse than a fever!
+
+THEODORE IVANITCH (to DOORKEEPER). Show them into my room. There's a
+counting-board there. I'll receive their money. Now go.
+
+DOORKEEPER. Come along.
+
+THEODORE IVANITCH. And it's Tanya you have to thank for it. But for
+her you'd not have had the land.
+
+FIRST PEASANT. That's just it. As she made the proposal, so she put it
+into effect.
+
+THIRD PEASANT. She's made men of us. Else what were we? We had so
+little land, no room to let a hen out, let's say, not to mention the
+cattle. Good-bye, dear! When you get to the village, come to us and
+eat honey.
+
+SECOND PEASANT. Let me get home and I'll start brewing the beer for
+the wedding! You will come?
+
+TANYA. Yes, I'll come, I'll come! (Shrieks.) Simon, this is fine,
+isn't it?
+
+     [Exeunt PEASANTS.
+
+THEODORE IVANITCH. Well, Tanya, when you have your house I'll come to
+visit you. Will you welcome me?
+
+TANYA. Dear Theodore Ivanitch, just the same as we would our own
+father!
+
+     [Embraces and kisses him.
+
+CURTAIN
+
+
+
+
+FOOTNOTES FOR FRUITS OF CULTURE
+
+1.   Economical balls at which the ladies are bound to appear in
+     dresses made of cotton materials.
+
+2.   The present value of the rouble is rather over fifty cents.
+
+3.   The Gypsy choirs are very popular in Moscow.
+
+4.   BETSY. Cease! You are becoming quite unbearable!.
+
+5.   PETRISTCHEF. I have C said (ceased), B said, and D said.
+
+6.   BARONESS. But tell me, please, is he paid for this?
+
+     ANNA PAVLOVNA. I really do not know.
+
+     BARONESS. But he is a gentleman?
+
+     ANNA PAVLOVNA. Oh, yes!
+
+     BARONESS. It is almost miraculous. Isn't it? How does he manage
+     to find things?
+
+     ANNA PAVLOVNA. I really can't tell you. My husband will explain
+     it to you.... Excuse me....
+
+7.   Stunning!
+
+8.   BARONESS. Capital! Does it not cause him any pain?
+
+     LEONID FYODORITCH. Not the slightest.
+
+9.   He uses a Centigrade thermometer.
+
+10.  LEONID FYODORITCH. You bring good luck.
+
+11.  FAT LADY. But he looks quite nice.
+
+12.  To take a header.
+
+13.  Do not disappoint us.
+
+14.  BETSY. I have more than enough of your Koko.
+
+15.  YOUNG PRINCESS. He is usually so very punctual....
+
+16.  BETSY. Cease; mind the servants!
+
+17.  And that won't suit me at all, at all! Not at all, at all!
+
+18.  Employers have charge of the servants' passports, and in this way
+     have a hold on them in case of misconduct.
+
+19.  It is customary for peasants to marry just after Easter, but when
+     spring has come and the field work begun, no marriages take place
+     among them till autumn. (See also THE POWER OF DARKNESS
+     footnote 2.)
+
+20.  COUNTESS. Thank you (for your hospitality), a thousand thanks
+
+21.  ANNA PAVLOVNA. Thank you (for coming to see us), a thousand
+     thanks. Till next Tuesday!
+
+
+
+
+
+
+
+
+
+
+End of Project Gutenberg's Redemption and Two Other Plays, by Leo Tolstoy
+
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